#I'm obsessed with this aspect of his character

[starlit1daydream]

On the subject of Equius Zahhak: hypersexuality and patriarchy.

It's been a hot minute since I promised to write something like this, and I've been meaning to test a new writing style for these big posts anyways - so I'm going to try my hand at explaining my personal interpretation of Equius Zahhak.

Equius is one of my favourite side characters in Homestuck, and though the individual components of his characterisation are intentionally facetious and humourous, all of these components then come together to form a fantastic and deeply layered commentary, however unintentional.

Let's begin with the basics: our introduction to Equius proper.

The narrative makes it clear from the start how you're meant to feel about this guy for starters - he's a creep and a weirdo. Nepeta says as much in their very first interaction on-screen:

This is backed up by the narrator themselves exhibiting a discomfort with him, painting him as a cryptic and eerily observant loner:

Once again, he's making people uncomfortable. Discomfort is going to be a very common theme going forward, particularly once we tap into Equius' personal interests and the justification behind them.

The next sign is when we first see him properly on-screen, and the narrator is immediately mortified by the state of his room and advises us to move on with the story.

So, immediately, any cognizant reader knows what's up. This guy is a joke character. A punchline, a fool, a weird asshole with no redeeming qualities. This is, of course, the intended reaction.

...Which then brings us to the subversions involved with Equius' character. Every single off-putting and strange thing about him is subsequently repainted in a more flattering light by the conclusion of his screen-time.

What begins as an overcontrolling, possessive demeanour towards Nepeta becomes a genuine, albeit perhaps overbearing desire to protect his moirail from harm. The context of him being Vriska's neighbour helps us infer that he's very, very aware of the dangers of FLARPing.

What starts as a bizarre and testosterone-poisoned obsession with strength becomes more of a fleshed-out character flaw. It's an inherent fault that Equius cannot control that brings him more distress than anything else. We'll delve into that later.

This is not, of course, to say that Equius is without genuine fault. You are still meant to find problems with his behaviour, of course you are; the Aradiabot fiasco is an intentional violation of personal agency based around an unhealthy obsession. He allows himself and his moirail to die because of his refusal to disobey the vapid and classist hemospectrum.

Okay, so why is he like this?

I'm glad you've asked. This is where this delves more into conjecture, based around a few different things.

The state of the internet and online culture at the time of Equius' inception; and the ramifications therein.

What we know to be true about the aspect of Void, and how Equius interacts with it.

The added retroactive context of Hussie's handling of queer topics (as a non-binary person themselves!), particularly on the subject of gender identity.

Let's start with point one.

Equius and hypersexuality.

At the time of Homestuck's inception, it was a veritable fact that the internet was overrun with overt sexuality, oft for the sake of shock value as opposed to arousal. Screamers and shock sites like 2girls1cup, goatse, Mr. Hands... (that last one is particularly relevant).

I cite Mr. Hands in particular because therein we get to the use of bestiality as a gross-out punchline. This is what Hussie's invoking with Equius; you're looking at this guy and seeing a gross freak who hangs horse porn on his walls. It's appealing to the fact that:

Homosexuality was considered a funny punchline.

The furry fandom was considered a funny puchline.

Bestiality was considered a funny punchline.

And so, this thirteen year old child hanging gay horse porn on his walls is meant to be played for laughs.

But with the retroactive lens we're looking at this through now? It's not only deeply disturbing for reasons I don't think I need to explain, but it's also a portrait of unhealthy teenage sexuality and the ramifications of exposure to explicit content at a young age.

Because it's a veritable fact that Equius does not understand boundaries and has a deeply flawed relationship with his sexuality. It's the kind of hypersexuality induced by childhood exposure to sexual material, and I would go as far as to call it a kind of CSE.

Need more proof of this? Dave Strider. Bro's weird sex puppets and usage of pornography as a punchline undeniably fucked Dave up, and explains the way he so regularly uses sex, particularly gay sex as a source of humour. Dave is the same problem that Equius rises, played seriously at a point in the story wherein these things are no longer treated so facetiously.

Furthermore, it becomes clear that Equius does not actually understand what he is consuming and emulating. Pornography isn't pornography to him, it's fine art. He's uncomfortable and unhappy with his sexuality because he lacks a label for it and doesn't know what it is he's feeling. This is tied to his Aspect of Void; but more on that in just a second.

This is uncomfortable. It is meant to be uncomfortable.

Equius' toying with casteplay and power dynamics is a clear representation of this frayed relationship - and it also segues into our point about his lack of self-worth.

Equius, the Heir of Void.

The Void Aspect. The Aspect of irrelevance, secrecy, ignorance, simplicity and absence, amongst other things.

The Heir Class. The Class that indicates an overabundance of the player's Aspect that overwhelms them and embodies them.

Equius is he who inherits, becomes and is consumed by emptiness. Because Equius Zahhak does not have a sense of selfhood or self-worth. The inference brought about by his title as the Heir of Void is that Equius is overwhelmed by nothingness.

Combine this with his Dersite status and the consensus on Lunar Sway (Prospit indicating externalisation, Derse indicating internalisation) and you get a very clear image of how Equius' title translates.

An overwhelming, consuming sense of internalised absence and nothingness. This is where Equius' hemospectrum adherence comes in! It's a cover up to compensate for his purposelessness and lack of meaningful identity. He sees himself as being deficient in anything real or of substance, and so adheres to the system placed before him because it is the only thing he feels he understands.

Once again, this is uncomfortable and a real phenomenon amongst teen boys. We see it with Eridan, too; young and confused teenagers with no sense of purpose falling into harmful and bigoted pipelines because they have no sense of direction otherwise.

(In a roundabout sense this explains Tavros' role as well; The Page indicates a deficit in their Aspect throughout the session and so the trolls lacking Breath in the form of directionlessness fits fairly well).

It's almost like watching a young boy fall into the alt-right, or start feed into Andrew Tate-style snake oil bullshit. It's the exact same kind of exploitation on a much larger scale; because it's the whole of Alternian society orchestrated by Doc Scratch.

You know... the Doc Scratch meant to represent online groomers?

So, we've been over about all I can cover about Equius' sexual trauma, lack of boundaries and emptiness/lack of self. So, how does this translate? Particularly thinking on the last point, I'd like to give my two cents about a very interesting headcanon for Equius that's been circulating a lot lately.

Equius, and gender identity.

A transfeminine reading greatly enhances the content of Equius' character, and provides a narratively satisfying character arc and means of development for them.

(From hereon out, I will be referring to Equius by the pronouns she/her).

I've seen Nekropsii sum this up beautifully, and I'll paraphrase this interpretation to the best of my ability; Equius' manifestation of masculinity is akin to a poison to her.

It makes her into a grotesque, testosterone-poisoned freak that physically cannot interact with anything around her without hurting it. It is the metaphorical confusion and fury of dysphoria made literal. It is the emptiness and lack of self that I myself can corrobate as a trans woman myself.

Masculinity is a curse for Equius. Much like quite a few other Homestuck characters (Dave & Jake come to mind), Equius really fucking hates being a guy.

So, this ties into my final point.

How I personally would have developed Equius had she been given the screentime to keep being relevant to the story.

The transfeminine character arc seems obvious. I believe that, if a person would be willing and able to tackle the more obscene and deliberately uncomfortable components of Equius' character, you could make an incredibly raw and interesting portrayal of transition and identity.

What's more; this is corroborated by Equius' closest relationship. Nepeta Leijon, the Rogue of Heart. The girl whose role indicates the ability to share identity and selfhood. Nepeta could very, very easily function as a catalyst for Equius gaining her own identity and being helped through the transition process. It makes an already STRONG and stable moirallegiance all the more interesting and heartwarming to witness.

This is not to say that Equius should not have agency herself, of course; an important part of this development would be the formulation of an independent self without debilitating outside influence. It would be allowing herself not to be consumed needlessly by Void.

Equius, and further relationship dynamics.

Equius' relationship with Gamzee (which I have always read as a one-sided kismesis) is also very important to me. This is not healthy. Equius is using Gamzee as a vessel for her fantasies and lack of boundaries, and through her black feelings she vents out her frustration with her sexuality and intrinsic need to obey and serve someone of a higher caste.

I don't think I need to tell any of you how well that works out once Gamzee goes sober. (I'd rather not dwell on the topic of the Makaras too long; that's something for a wholly separate post - and one that I'm sure would end up being rather scathing towards Hussie).

Finally, Equius' relationship with Aradia. This is also one I feel is unhealthy and once again one-sided. It is the same principle as Gamzee; merely in the red quadrant as opposed to the pitch one. Equius is using somebody as a vessel to vent out her feelings of purposelessness and frustration, and deliberately ignoring the lack of reciprocation.

Both of these connections are similar; and both of them end with Equius getting her shit kicked in.

How one would retool and treat these relationships post-character development is up to them, but I personally think it would be healthier for Equius to step away from both of them. I don't think Aradia would want or need Equius' continued presence in her life, and Gamzee is notoriously terrible at relationships. (We know damn well how a reciprocated blackrom with him turns out, just ask Terezi).

Equius, in conclusion.

That's all I really have to say on this matter; a long-winded and ultimately self-serving wall of text that I'm sure will come off as masturbatory and stupid when I read over it again. That being said, I wanted to lay all of this down in one place.

tl;dr - Equius Zahhak is a complex and interesting character with commentaries on teenage hypersexuality and unhealthy masculinity, and reading her as a trans woman provides an incredibly interesting character arc for her in the long term.

[wolfsong-the-bloody-beast]

I'm kind of obsessed with Blackwall's idealized ideas about the Wardens. He was once picked up by a Warden and lulled by the promise of atoning for his crimes and turning his life around, only for that opportunity to slip away when the Warden not only saved him, but sacrificed his own life to do it. This whole experience makes our Blackwall become a Warden in heart, if not in blood, but with his own ideas of what a Grey Warden should be - noble, brave, inspiring, heroic, self-sacrificial. Everything he now wants to embody. He knows well that he's not there, but he wants nothing more than to start from scratch and be that.

In his beliefs, he reminds me a bit of Wynne in Origins who tells the Warden at some point that the Grey Wardens are supposed to be more than killing machines and weapons against the blight.

“There’s more to being a Grey Warden than killing darkspawn and saving the world from the Blight. Ultimately, being a Grey Warden is about serving others, about serving all people, whether elves or dwarves or men. As a Grey Warden, you are a guardian of men. And you guard them because their continued existence is more important than you are.”

However, we know that's not exactly how it works. That's what they want the Wardens to be. The light against darkness. The shield against monsters.

Although it's not entirely wrong, either, I suppose, all things considered. The more darkspawn they obliterate and push back, the more people are protected from them. Of course, sacrificing their lives to fight literal monsters, which means those same monsters don't eat everybody's kids, ultimately is heroic, and it's something that must have been born out of the need to protect the world and its inhabitants (from the Blight). But to have idealized opinions of the Wardens to this degree, you have to ignore all the other shady stuff and the mentality we, as players, also know the Wardens for. The fact that the Wardens are primarily weapons to slay darkspawn, prevent and end Blights, by any means necessary. The last part is important. After all, they are the Grey Wardens, not the White Wardens. They recruit from all walks of life and are famous for taking in criminals. Not to redeem themselves and get a second chance at life, but because they usually have nowhere to go and nothing left to lose. It's not a coincidence that each of the Origins gets chosen by Duncan, not only because he sees them as capable, but also because they are in a situation they can't escape from. Either they join the Wardens, or they're done for.

We know the Wardens from a few games now, but does the public in the setting even know? Does the average person have any idea how far the Wardens are willing to go? Besides grand stories of slaying monsters in the dark and preventing the end of the world? Probably not. The order is very secretive. And it explains a lot. The Wardens end up sounding almost romantic, when being a Warden is anything but. Is it ignorance talking out of these characters? Perhaps.

It once again shows us this aspect of Dragon Age where you can't take everything a character says as a fact, because the setting is full of people who have no idea what they're talking about, but who are absolutely convinced that they do.

And yet, I can't help but also like Wynne's and Blackwall's romantic ideas about what the Wardens are or should be, almost knights in shining armour and all that. They're fairy tales, but they're beautiful fairy tales. And I can't fault the characters for wanting to believe it or even live it. Especially in case of Blackwall, who sees it as a way to make up for the crimes he committed, somewhat. In the end, this might actually be a bigger draw to join the Wardens than, "Got nowhere to go? Come suffer horribly and probably die gruesomely with us!" It all sounds great on paper, though. I can't fault Davrin for trying to find purpose in life by becoming a monster hunter, either.

And maybe a little bit of idealism doesn't hurt. Not only it's good motivation, but in the end, doing things by "any means necessary" doesn't always pay off, either. It led the Wardens into all kinds of trouble, like getting tricked into employing dangerous forms of blood magic and demon summoning, basically into doing their enemy's work for them. In their determination to win at any cost, they helped trigger a cataclysmic event. Maybe having some principles isn't so bad after all.

In the end, I can appreciate that we get to see the clash of the old and new blood in Veilguard, where there's hope for the order to transform into an organization that's less secretive, less exclusive, and hopefully less prone to letting corruption spread through its ranks and make other devastating mistakes. Duncan once said that letting people join the Wardens isn't an "act of charity", and I like how Evka and Antoine go, "Yeah, you know what? Fuck that." And that likely inspires more loyalty. I imagine Blackwall would like that.

[0pooleart]

Sonic Redesign Masterpost

One thing I've always passively thought about the Sonic franchise is that it's great, but also always felt just a bit short of perfection in a bunch of random aspects (mostly some character designs and some stories). Around like late August of 2024 I sketched out some redesigns for some of the main Sonic characters, and I quickly realized that I kinda physically had to not only redesign like, all vaguely notable characters from across the entire franchise (not just the games) but I also really wanted to rewrite a ton of stories, so I just like, did, you know? I'm basically obsessed now so here's a giant masterpost that's more about the thoughts behind my redesigns than just the images. Don't expect this to be super organized and fun to read lol

(and I can feel the hyperfixation dying down so I really should just get this out there)

Also, if you'd rather read it in the form of a Google Doc, here's the link to that: https://docs.google.com/document/d/1VvXMzQ2kr7HrqmUd0Z7Aa9xCprUZ1ojm5cD8lcAEjbQ/edit?usp=sharing

First things first, for one, Mobius and Earth are two distinct planets, and Mobians are one set species. I didn't think that was a crazy idea until I actually watched a video detailing how current Sonic treats the setting but yeah, I really want them to just be completely different planets.

Origins

Anyway, the main draw for rewriting most Sonic stories was the fact that he doesn't really have a canon origin in the main series games (yet?) so I felt the need to give him one, and a more discrete timeline. However, everything starts with Eggman (and this is a heavily truncated version):

Robotnik enters Mobius via a Ring portal (similar to how the movies portray them), but he's instead a skinny, charming young man (similar again to Jim Carrey's Eggman in the movies, a drawing of him is further down). At first he pitches his little, cutesy animal inventions to the Mobian public, and they actually like them quite a lot. He's not without an ulterior motive though, and as his inventions get more and more popular, he actually hires some Mobians to help produce them. He begins building his business over the years, using the unique powers Mobians have to boost production. He even gives some of his workers their own homes built up with his technology, but he starts using this as a way to control them, since he basically can take away their whole lives if he so chooses. As he keeps building and building, he steals more and more resources from Mobius, and he builds over the Mobian city he started in (haven't really specified what it was yet), slowly making it his own over time. The only place he knows he shouldn't touch (just to stay in the good graces of Mobians) is Green Hill, a place that's sort of sacred, but more sacred in the way art is sacred, since it's a place hand built by ancient Mobians to be a wild place for them to roam free. Time passes Robotnik has been fattened up by his personal chef/baker Vanilla, and he's settled into being in control of so much of Mobius.

It's around this time when Sonic is born into the factory (of course given the canon name Ogilvie at first). He's taken away from his parents, whoever they are, immediately, and is put to work as soon as he's able to push a button. As he grows up, he's obviously too restless to do something so sterile, so he's put to work on the hamster wheels that power the Robotnik Empire. He never even thinks there's anything special out for him in the world, but eventually he, like the other workers, is given his semi-yearly vacation to the Green Hill, where they can recover their will to live. However, Ogilvie is so completely overrun with joy that he just runs off, never to return to the factory again. Eventually, of course, he changes his name to Sonic to fit his new life of just running around Green Hill.

Robotnik catches wind of there being a deserter, and decides to set out his robots, who secretly had battle functions all this time, into Green Hill to catch him. This is essentially where the first game would begin, just Sonic running around destroying Robotnik's robots as they come at him. However, Robotnik has a second in command: A young, two-tailed fox who he found outcast on the streets, who had a surprising knack for machines, something he didn't see in many other Mobians. He was named Miles Prower, and he grew up working for the one person who didn't ostracize him for his tails or his skills. He was only around 12 when Sonic, approx 16, escaped, and he was tasked with leading some of their more sophisticated creations into battle. 

Robotnik came along too with his own weapons, but they were both completely outmatched by Sonic's unbridled confidence and cockiness. Robotnik tore out what hair he had in anger, and of course that's when Sonic taunted him with his new nickname Eggman. Since Miles was there too, and he felt like he was on a roll, he called Miles "Tails," but Miles' reaction was much more ashamed than he expected, so he felt a bit off about that one. After the fight, Miles was repairing the machine Sonic destroyed, but he found him and met him on more even terms, and tried to convince him that there's probably a much better life for him out with him. He wasn't totally convinced yet, and couldn't exactly just defect from Robotnik like Sonic did, so Sonic left him be for now.

This is the general part where I start writing too many fine details, so basically Miles slowly starts enjoying himself more and more fighting Sonic and meeting him after the fight. He even adopts the "Tails" nickname for himself on the card of a present he drops off for Sonic, which was his much more durable and iconic sneakers. He finally breaks away from Eggman completely during an aerial assault on Sonic, where he prepared some supplies in the plane he was set to pilot, so he could take it away with him. He even was able to use some scrap from the battle to build a workshop for himself to live and work while Sonic still mostly just roamed free. This is around the point where the second game would start, since Tails has joined the cast and they can both battle Eggman together. If this were to be a game, I'd want Tails to be in the cockpit of each boss in the first game, so it helps set up his inclusion in the second, but obviously this is just a random floating idea for now. This isn't meant to be a concrete game/comic/animation/whatever.

But, that sets up most of the future events, even though there are some major stories to come, so on to the designs themselves:

As for overall Mobian redesigns, I always thought their giant ass hands and feet sometimes got in the way of their expressiveness, if they didn't just look kinda doofy (especially with characters like Knuckles) so the generic "Mobian" template has a smaller head, feet, and hands, and has a generally longer torso. Basically they just have slightly more """realistic""" proportions even though they're still obviously cartoony, just more realistic on the spectrum compared to the canon designs. And, since they're all one species, that means they evolved over time to match some of the animals around them, like a macro-evolution version of how Chao take on animal traits. That also means that the animal parts of their names are more like tribe affiliations, since they aren't actually the animals they say they are. For example, Knuckles the Echidna isn't an echidna in the species sense, he'd just call himself that to show he's affiliated with the Echidna tribe, and more generally that his people took on traits of the local echidna-echidnas. Meanwhile, characters like Tails/Miles Prower have a more family-based last name and a nickname for reasons I'll get into later. Also aside from that, I wanted characters that are Reptiles and Insects (Espio and Charmy mainly) to seem more unique from the mammals, so they look more distinct. And even the mammals look more animalistic in general, with longer snouts, getting rid of that weirdly detached muzzle thing most Mobian characters seem to have. Characters that are like Cats and Rabbits don't end up changing much since they aren't known for having long snouts anyway.

Sonic

Sonic was obviously the first one I tried redesigning so his design went through a bunch of changes, but the first thing I dealt with with him was his stupid conjoined eye thing. Obviously in that classic CD animation everyone loves it works out because its super stylized and simple, and all the current Mania versions of him make it work too, but it's really hard to unsee now in his modern designs. It's obviously meant to be like a Garfield type of thing, where it's just a cartoony way of having two eyes close together, but nowadays it really feels more like a Lightning McQueen type of eye windshield. If every Mobian had that then I'd keep it and just call it a stylistic thing, but no, only Hedgehogs have them, so... At first I tried representing that by making him have some kind of goggles to protect his eyes from the wind as he runs, but I couldn't get that to work, so I just split his eyes up. In his goggles-form I gave him this black brim to the goggles to kind of mirror Shadow's random red eye splotch he has, and since I liked that enough I kept a small bit of it in the current design. I also gave him some kind of double-sock type thing going on with much more athletic-seeming stuff to go under his more fluffy socks and gloves, which didn't feel all that necessary until I removed them at some point, and that just made him feel extra naked somehow. I do like them though. And, of course, he's actually wearing rings.

Aside from that, I kinda inadvertently made him look a lot like his Movie version, with his extra frazzled quills and blue arms and such. I definitely feel like he benefits from being extra sharp, so I added a bunch of spikes to things like his chest and shoulders. Even though it's not really important to mention I might as well, but the weird thing I think about his arms is that his normal Game design does basically need tan arms, but I actually think overall there's no reason not to give him blue arms in a form like this. It just makes sense.

Tails

Tails is mostly unchanged, just making his face fur blend more smoothly into his face instead of just being solo hairs glued on. His chest fur is more like a ball of fluff focused more around his actual chest, instead of just being a flat pattern on his stomach. I also gave him bigger ears for a bit of fennec energy, and a red scarf so his red shoes aren't the only red on his design. Aside from that, it's all just restylization, like making his tails extra fluffy.

Eggman (and Miles)

I'm still torn on what I want Eggman to truly look like. At first I wanted him to look a bit more like his SatAM-style version, with really short legs and a big fat belly, but then after seeing more and more fanart of him I tried to give him back his weirdly scrawny legs. No matter what though, he needed to have a giant coat with a massive collar to show his impression of himself. Also, I will always want to preserve his iconic smile, where his big toothy grin is basically glued to his mustache. That's pure Eggman.

And of course there's pre-Sonic Tails there too, with his fur very organized and clean, and with a much more grim demeanor. I also thought his tails would also be a lot less fluffy, and he kind of wraps them together like how a person wrings their hands together when they feel shy or awkward, showing how he hasn't fully embraced his mutation yet.

This is a quick little sketch I did of younger, thinner, and less bald Eggman when he first enters Mobius. 

After them, there are some characters that'd just be appearing around this point in the story, so here they are:

Amy… the Cat?

So for the longest time, I legitimately believed Amy was a cat, so I decided to make her a cat. It's that simple. She never really looked like a hedgehog, anyway. Plus, I do want to keep the main group as being Sonic, Tails, Knuckles, and Amy, so it'd be nice if they were all different "species." Aside from that, I just made her former quills look like much more fluffy and soft hair, and gave her long sleeves just because this drawing convinced me it was a good idea. However, I did do a quick sketch to see how she would look if I kept her a Hedgehog, and in that one I took away the long sleeves since I thought that would be annoying with her chest/shoulder quills.

As for how she meets Sonic, she's working under Eggman as a blacksmith when Eggman starts going berserk over actually losing both a devoted worker and his right-hand fox. He puts up signs everywhere asking for people to enlist into an army with the sole purpose to capture him, but Amy is instead just smitten with this rebellious hunk she's just now heard of. She joins Eggman's forces, but breaks off on her own to join him. He's super willing to let anyone join, but since Tails knew how devoted to Eggman some Mobians could be, he thinks she's a spy at first. Over time, though, she proves herself, even if she can't quite catch up to Sonic.

Cream, Cheese, and Vanilla

Cream was always perfect, but I really hated that Vanilla was basically just a taller copy of Cream, so I tried to give her her own identity. Also since they're all named after food I decided to specifically make Vanilla a baker/chef, which also meant I could turn the one tuft of hair on her head onto an ice cream-y dollop. And even though that was decided before I decided to make Eggman start off skinny, it also meant that I could make her a pretty major part of Eggman's life, being the one who makes desserts so good he just couldn't help himself. Even though Eggman definitely loves stomping on the hopes and dreams of Mobians, he's actually quite fond of Vanilla (not in that way, thank god) and tolerates Cream. As for Cheese, I had this big idea of how to redesign all Chao mechanics a while ago, and one such idea was to have Luck and Intelligence forms of Chao just like the other stats, and I decided to make Cheese a Neutral/Luck Chao just before he evolves into his main adult evolution, since he's lucky to have Cream by his side. Literally. He's only with her because Eggman was experimenting with Chao, and Cream caught him in the act, and he tried to save face by giving her Cheese as a gift, which definitely took him off her radar. 

But, also, since when do rabbits only have one kid?

They're just rough ideas for now (except for Milk and Sugar for reasons) (and I also thought of there being a baby Butter as well but I can't be assed to save a new version of the sketch). Even though it doesn't make sense for each kid to be a different age, since rabbits more so have large litters, I just think this is more fun from a design perspective. Also, Vanilla having so many kids to worry about makes it more reasonable why she's so beholden to Eggman. She definitely can't just get up and leave when she has to worry about all of them. 

As for how Cream meets Sonic, I literally have a whole animated short planned out in my head because, if you couldn't tell, she's easily one of my favorite Sonic characters, but the gist is that once Eggman "gifts" her Cheese, Cheese starts drawing crude drawings depicting how Eggman treated him and other Chao. Cream slowly catches on to Eggman's evil in her own oblivious little way, and eventually just… walks out. Much to Vanilla's dismay. As she leaves though, Vanilla basically snaps from her goodie-goodie persona and practically holds a knife to Eggman's throat, telling him if any robot ever harms Cream while she's out there, "so help me god…" He relents as much as he can. Meanwhile, Cream just keeps walking to Green Hill. Tails notices her as he's flying the Tornado, and picks her up. She's a little disappointed that everyone's basically just living in the wild or Tails' crude workshop, but they try to make due for her pampered little self.

After that comes the first big story since the Origin/random extra happenings. 

Knuckles

Honestly I feel like Knuckles has to be one of my top redesigns. I definitely needed him to look more buff and big compared to Sonic, but not quite to the level of Boom Knuckles, and I think I really nailed it. Not only that, but making his coat and "skin" color darker just works so well. And, of course, with the dread-bands/paint of his tribe. Him just looking so much more square also just fits so well.

Knuckles starts off as usual guarding the Master Emerald all alone on Angel Island, but soon Eggman visits him without any armada, reading about the Chaos Emerald's power and finally wanting to use it to stop Sonic. He does his usual schtick of convincing Knuckles that Sonic is the real threat, and since Knuckles was so isolated he didn't even know who Eggman was, and joins him to stop Sonic. 

However, Tails isn't stupid, and keeps a solid ear to what Eggman is doing, and hears about his plan to take the Chaos Emeralds, so he and the others set out on a world-sprawling journey to get the Emeralds before he does. However, they aren't the only ones looking for treasure…

Rouge

Technically I redesigned Rouge first out of everyone, but for other reasons than the franchise-wide redesign. This is basically an adaptation of that. Similar to Amy, whose design was cursed by Girl-Character-Syndrome, I also wanted to fix up Rouge by going where no anthro female character has gone before… giving her a bare crotch. Crazy. The boys can run around stark naked while the girls can't not wear full body clothing, so someone had to pick up the slack. She at least has her top covered, but that's mainly because I'm kind of a sucker for her heart-boob thing. I really can't deny it. Oh yeah and the heart motif continues into her nose, because she's a bat, of course it would. Bats literally have heart-shaped noses but they didn't bother even giving her a tiny heart-shaped nose in canon. AND she even has full body fur, because her being completely bald across her body is even more of a sin to me than forcing her to wear full body clothing. Anyway, she's got dark skin too, because obviously, and I tried making her arms her wings at some point but I also wanted her to have normal humanoid hands, and that just didn't mesh well, so she's still got back wings. Aside from all that, I gave her a long index fingernail on her glove for lockpicking purposes or whatever, it just seemed like a weirdly fitting thing for a character once called Nails.

Anyway, Sonic and co stumble upon Rouge who had the same goal as they did, but of course with a different motive, although she promises to play nice and help them find the Emeralds (until she betrays them once they have them all)

At every Emerald, each situated in a different biome, they encounter Knuckles, who uses the elemental power of each Emerald to fight Sonic, although Sonic is usually able to snatch the Emerald away from him and make away with it. After every fight, Knuckles is more and more sure that Sonic is a threat, but once Sonic and co actually have them all, and find the Master Emerald too, Eggman is the one to make the first move, and snatches them away all at once to power the giant mech he built behind the scenes just for the Emeralds. Everyone teams up to steal back the Emeralds again, and Sonic feels a strange power inside of them and the Master Emerald. He asks Knuckles what it could be, and he says the Master Emerald must have determined that he should be granted their ultimate power. Sonic seems stoked, but Knuckles is seriously worried, thinking back to the tales his people told him of what happened last time… but thankfully this time, Sonic just turns an electric yellow, beats Eggman's mech to a pulp, and turns back to normal once the deed is done. Knuckles is a bit shocked, but relieved.

With all threats neutralized, Knuckles accepts that he was wrong, and makes amends, but he stays with the Master Emerald. Rouge goes off on her own again, too.

It's at this point, while still on Mobius, some other characters probably emerge. This could happen either after or during the previous events.

Sally Acorn

Even though I don't have much personal nostalgia for Sally, she used to be such a big deal that I couldn't NOT add her to the roster. Like Amy, I also got her species wrong, since I thought she was a squirrel and they just didn't have the guts to give her a big, bushy tail, but I was remiss to hear that she was actually a chipmunk, meaning her redesign couldn't have that amazing tail… but chipmunks do have pretty iconic patterns, so I made sure to include that in her hair. Apart from that, you can see all the changes. I imagined her home town being smaller, and even though she could be the daughter of her town's mayor, she wouldn't be a princess. I never really got princess vibes from her. Oh yeah, and she's still smol, like how she was always drawn in her original era. She can make up for it with her spunk. She would also have her own Speed/Fly/Power dynamic with Ray and Mighty, who are also still smol.

Bunnie Rabbot

I basically just mish-mashed all the parts of Bunnie's various designs that I liked, but the main part of her is her new story. She basically lives in this classic Western-style town held under Eggman's boot, and she's hired as an outlaw to catch Sonic, where she was given robotic enhancements both to give her extra power but also so Eggman could more directly control her. She's also the "bawss" of Fang and Trip, other outlaws hired by Eggman. Even though she doesn't personally hate Sonic, she needs to do what Eggman says, or else she knows he'll wreak havoc on her town. No amount of speeches about friendship and being a good person could turn her.

After all those events, the next stage of the story begins, where at some point Sonic goes Super to fight Eggman, but Eggman was ready. He manages to suck the Emerald power right out of him to power his ultimate plan--- the thing he more or less planned on doing from the moment he stepped foot on Mobius. However, the damage Sonic and co did to his plans during that time caused it to go haywire, sending giant white explosions shooting across the entire planet of Mobius. Practically every Mobian was transported to Earth, Sonic X style. And not just the people, but massive chunks of the planet too had warped on to Earth, practically fusing the two planets together.

But of course that opens up too many stories so time for a rapid-fire design overview lol

Chaos & Tikal

Obviously the events of Adventure would be next, but for the most part Tikal's design is just updated to match the new Knuckles. With Chaos however, I slightly changed his story to make it so that he mutated from a Chao for when he first turned into Perfect Chaos and destroyed the Echidna clan, and obviously making it so that he used to be a Neutral Chaos Chao. I also have a whole animated short mentally planned out of that moment which I'd kill to create. After the events of Adventure though, instead of like getting dragged off to Heaven or whatever Chaos is instead gifted just a little bit of power from the Master Emerald so that he could maintain a more solid form than his 0 form so he could live alongside people (as much as a water monster can), and in this form (which I'm calling Controlled Chaos) he looks more like a Chaos Chao and of course he also has an emotion ball, which the Chao quickly recognize and accept him in with them. I also like to think he could replace the role of Gemerl from the comics, where he is the superpowered being that helps protect Cream and her family (although clearly Vanilla is a bit more hesitant)

As for the events of the Adventure story itself, it's mostly the same, except for the fact that Knuckles wasn't at the Emerald when Eggman broke it open because he was slacking off alongside Sonic, which he beats himself up about before realizing the Emerald can be repaired. Also, with their Master destroyed, the Chaos Emeralds actually turn into chaotic masses of power that greatly affect the areas around them, making them more dangerous to obtain for Sonic and co. For example, maybe Ice Cap wasn't really that icy, but the Emerald Sonic was to get from there turned whatever it was before into a frigid mess. Maybe it would also spawn some sort of boss for them to fight to protect itself.

Also, here's Big. He's mostly the same except I wanted him to look more wild and unkempt. I also made it so he actually has a giant mouth, because in all his modern forms I honestly think his really tiny mouth looks super weird. 

Oh yeah and I guess one major thing I changed about all Mobians, they actually have feet and not just weird nubs. Really expanding the boundaries of design.

I also have ideas for Gamma and Omega from here, but it mostly boils down to Gamma actually having more personal interactions with the main cast, and once his story finishes and he explodes, Eggman laments that his best creation was going to waste, so he decided to rebuild him… but with less empathy. This backfires when the new Omega is disgusted by Eggman's method of just rebuilding him, and lashes out, going off to join the cause against him.

Then, for Adventure 2…

Shadow

For the most part, I just updated him to match Sonic's design, and gave him cooler gloves/shoes, but the main change is that I want him to feel more like a crazy genetic experiment. For one, you can see that he actually has gills similar to those of the Biolizard in his base form, probably just to help him take in more air/energy so he is less likely to tire, but more importantly I want his inhibitor rings to essentially be holding in the Doom powers he gets in Shadow Generations. When he takes them off, he basically becomes a darker shapeshifting mass that can barely hold himself together, instead of just becoming an objectively more powerful version of himself like in his canon form. It also makes more sense, since Gerald probably made those rings as he was ashamed that he had to resort to giving him Black Doom's DNA, and so that he could interact with Maria without hurting her.

The other big change is to Maria herself, who I wanted to be as goth as Shadow is, with her being more of the rambunctious goth type than an emo goth. I was always kind of annoyed at how generic anime-UwU precious babey Maria always was (even though she was greatly improved in Shadow Generations and Movie 3) so I thought making her have a more fun/imperfect personality would be more interesting, and would be more impactful during the Ark raid where she turns from a full-nonsense personality to someone who's actually afraid and desperate. I don't really have a solid visual design for her right now, but I've had a couple of iterations. I kind of want her to look less assured than she does here

Team Chaotix

You have NO IDEA how much I needed to change Charmy and Espio. Charmy looked like a weird cat/bear with a bee tail and Espio looked like some completely unrecognizable animal, even though you might be able to at least assume he's a chameleon if you knew his powers. 

For Charmy, I just needed to give him big bulging black eyes, a jagged mouth, and another set of arms to really show that he's an insect. If nothing else, it at least makes it obvious that he can't be anything BUT an insect. As for Espio, I decided that I could give reptilian Mobians various scales on their body instead of the mammals' chest coloring or whatever. I also gave him a more unique head shape and that weird fin thing which is much more chameleon-iconic than what he had before, and even gave him that wrinkly eyelid thing they have, while still giving him a more humanized expression.

As for Vector, since he was the rare Mobian who had an actually unique body type and head design, he stayed mostly the same. He's the main reason why I know the character designers at Sonic Team aren't ALWAYS copy-pasting their body types. I did have to change his outfit, mostly just to get rid of his weird shoulder-ball things which never will make any sense. What even are they?

Now, for the biggun

Blaze

Oooohh my god Blaze. When I was first thinking about adding her to the roster, I liked her a decent amount but didn't think about her too much. I did know that I wasn't going to change much about her design since it was already pretty much perfect, I just added more gold to her and made her ponytail more like a flame than her canon design, which looked more like feathers of some sort to me. I then just updated her tail to match the style.

What really changed was when I completely rewrote her story. I always thought it was so weird that they made her so special and weird, being a fire-bending princess from another dimension, but they barely went into fine detail about her, like, AT ALL. It doesn't seem like there's anything special about the Sol Dimension, aside from the Sol Emeralds, and her actual role as a princess is never really touched on at all besides her living in a castle as depicted in the comics, AND worst of all she's just sort of… born with fire bending powers? That's crazy even for Sonic characters. I mean I'll accept it but still, I feel like there should be something there. And it's also crazy that all of this was introduced in Sonic Rush, which, let's be real, has the most non-story there could be in a Sonic game. Nothing interesting and unique really happens in it. At least Rush Adventure did something new, but still. She deserves better

So anyway I changed practically every detail and am mentally organizing the full story, but the gist of it is essentially that 06 is now her debut game, and everything regarding Soleanna now involves her instead of Elise and all takes place in the Sol Dimension. You'd think it would be a little on the nose to make Soleanna a location in the Sol Dimension, but they didn't even bother to make that a thing. Same goes for Solaris. It feels so obvious, like it was meant to be that way in a beta form. On top of that, though, since she replaces Elise you can probably guess that she actually derives her fire bending power from Iblis, which is actually a power passed down in her family ever since Iblis and Mephiles were sealed. And, since she's clearly in more of a position of power than Elise, she can actually be the third in the 06 main character group instead of Shadow, since he gets enough attention elsewhere. 

As the story goes on and she realizes she has a flaming hellbeast inside of her, her sheer confidence gets broken and then regained thanks to Sonic supporting her. Maybe also includes a relationship with Amy because I can't help myself. Apart from that, there are so many details and story beats I'd love to share but really that would be a whole document all on its own. I'm surprisingly close to being able to write basically a whole movie script's worth on this thing.

But yeah every single detail I added to her story has now retroactively made her one of my all-time favorite Sonic characters, tied with Cream and Chaos. I basically freak out whenever she does literally anything, I'm kind of obsessed.

Also since the role of princess suggests there's a queen (unless you live in Equestria), here's the Queen of Soleanna

Silver

Now of course, ANOTHER peak redesign. I really think Silver specifically is the biggest upgrade out of everyone. I really needed him to look more weird and futuristic, making his whole body actually silvery instead of just kind of white, and making his clothes black to make his glowy tech bits more stark. I even turned his quills into flowing hair, just because. I like to think he's one of those characters that's unimaginably handsome without any effort, even though he doesn't realize it. 

Story-wise he doesn't change much, except of course since Blaze is doing her own thing, he's completely alone fighting to protect his future, which personally really helps show his character. He's the type to fight to his dying breath even if he knows he can't win, just so he can protect as many people as he can. I also think he's still the type who would take a can out from the bottom of those can pyramids in a cartoon supermarket, only to freak out when the whole pyramid topples down. He's a devoted warrior who, in low-stakes scenarios, is still kind of a lovable loser.

Except he wasn't always alone. He's the last remaining member of the Crested Knights (or whatever I want to call them), a genetically engineered and cybernetically enhanced army of people made to quell Mephiles and Iblis as much as possible in the future. The second-to-last, his mentor Steel the Wolf, fell in battle with him, so he vows to keep fighting for him. Personally I think Silver having a deep personal attachment to someone in this way really makes him feel more loving and empathetic, which makes his goofy sides much more charming. I imagine him sharing stories of their past together over a campfire while Sonic and Blaze listen intently.

Also just because Blaze gets her own special super form because of the Sol Emeralds, I thought since the Chaos Emeralds are said to grant wishes, each individual who gets their power has a different "super" form. If we get Super Sonic and Burning Blaze, then we can also get Psychic Silver (it's still alliteration) where his psychokinetic abilities go haywire and his senses basically become perfect. 

Forces

The one thing I realized I didn't like about the IDW comics is that Amy was barking out commands like she was some seasoned war hero (which she kind of was) in her cutesy old Adventure dress, so that made me think that I should give her and everyone else their own special outfits for the Forces section of the story. Also, since the story of Forces is practically the same as SatAM aside from Sonic being involved, I made the Freedom Fighters become a part of this story, which are their own little task force. That also includes Nicole, who now actually looks like a holographic projection instead of just some random Mobian, although I might eventually design a more corporeal form for her. And, since Forces is one of those games where you realize they just didn't want to include humans for some reason, I decided to give Topaz from Sonic X a spot alongside Rouge in the Resistance. She'd still start off as a cop that Rouge enjoys ""messing"" with, but then once Eggman starts taking over she joins the forces against him. And since the IDW comics are practically a part of Forces' story, Lanolin can also be here, who I made chubbier since sheep always have a chubby aura. Tangle is there too but she's completely unchanged since she's already perfect. Same would go for Whisper but I haven't drawn her yet. And really the same goes for pretty much every other IDW character, since their designs are some of the best in the series imo.

The Ancients

I really thought the Ancients needed to look more alien and weird, and I wanted to give them clothes to mimic that of their tech. I also thought that the Koco could instead be their true brains/bodies, and the gel is another part of their tech. 

The main thing of their story is that I want them to be the origin of all Mobians and Chao. When they fled from The End to Mobius, after the big fight The End broke their bodies and brains, destroying the rocky shell around their true bodies, and making them back to being nearly animalistic. However, over time their malleable bodies evolved over time, some turning into the more capable and intelligent Mobians, while those that ended up in more protected areas didn't change quite as much and became the Chao, still being pretty soft and helpless. However, I also thought that the branch of them that fled to Mobius surely couldn't have been the ENTIRE species, so the other branches that fled away from The End ended up evolving into the species of the Black Arms and the Wisps. The Black Arms being a people who use more meaty, grotesque technology, and with the Wisps tending to use more abstract, colorful technology, assuming they use any at all, since they decided to live more naturalistically, even with their core bodies living outside of any other tech. This essentially makes Shadow the Hedgehog (the game) and Colors parallel stories, where they deal with the offshoots of the Ancients. If you couldn't tell, I also made them have traits of the Dark and Hero Chaos Chao, with Black Doom having the flame orbs above his head, and Mother Wisp having the halos and the head protrusions of the Hero Chaos Chao. They each also have cores similar to the Koco, with Doom's Eye essentially being his core, and the Wisps themselves each being a core, but with the Mother Wisp having a bigger body her core goes into. 

Those are all the major designs, but of course that isn't even it. For example, Some other characters that exist in my redesign are Sonia and Manic (fans of Sonic who hype him up in battle with music), Bokkun (mostly unchanged), Metal Sonic (just looks cooler), Sage (who I redesigned but honestly might not keep), Cosmo and the Metarex (both made a bit more alien), the Zeti (the Deadly Six and others of the species), and a whole redesign of Secret Rings and Black Knight which features even more stories like Peter Pan and Journey to the West. I could basically go on and on about it all but I have to stop somewhere lol

Thanks for indulging me

[lab-gr0wn-lambs]

Daryl sign language compilation

[quatregats]

Curious if anyone's encountered any good historical fiction set in the Age of Sail with a non-white and/or non-Western protagonist - it doesn't have to be at all similar in genre to the AoS fiction that I've been reading, I'm just starving for a book that actually talks about the larger world systems it was wrapped up in from a perspective that's not white people

[therevengeoffrankenstein]

the implications....

folie a deux meaning / folie a deux album cover / pete's bear hat(s)

[ehlnofay]

19 for the worldbuilding prompts + Torr?

the profound quiet of a small settlement at night

North Eastmarch is freezing cold all over, but it wears different outside the city than within.

Torr would never call Windhelm warm – not even in summer months, no matter how used to it they are – but what little heat it has it clings to with great determination. The walls huddle together, trapping the air so that it’s either still and muggy or a howling wind, like each close-knit house is breathing in tandem. The heat of the people run up and down its streets, blood through its knotted stone veins. The city is alive, an ecosystem unto itself; its snow, dark with footprints, runs sludgy down the roads; a fireplace is always burning somewhere.

Outside of the walls, surrounded by nothing but empty air and snow-laden trees, a slow-moving stream running with barely a burble – it feels dead, in contrast. Silent. Branches reach needle-sharp across the blue-black sky, the ground is gleaming white and undisturbed by anyone else’s footprints, and the nearest fire is the barely visible gleam of the Kynesgrove mining camp, up the hill and through the sporadic spindles of the trees. The breeze ghosts past Torr’s neck and whips the mud-stained snow into a flurry.

In the city, Torr’s comfortable sleeping almost anywhere – as comfortable as they ever get, anyway. Some of the buildings have great gaps under the porch where the snow can’t reach and no-one ever finds them; there’s places in the nooks of the walls, and sheds built into the side of the house that people don’t lock, and Torr knows a few people besides who don’t mind him kipping on their floor every now and again, as long as he doesn’t ask too often. The outside isn’t like that. There’s not many places to go. He’s lurking around Kynesgrove tonight – on his way back from a quick venture out to get some things done that pay better than running errands around the markets – and there aren’t many options. The inn, which he can’t afford – the mine, which would be warm but is very guarded – the miner’s encampment or someone’s house, both of which would most likely result in being chased off. Besides, there’s a performative element to meeting people, especially adults, in strange places, and Torr’s not in the mood to play to strangers. So much of his being is caught up in Windhelm’s grimy alleys, tangled in the hair and fingers of its discarded children; he doesn’t know how to be himself away from it all.

But they don’t have to, seeing as there’s the rickety old sawmill on the edge of a stream feeding into the harbour. It’s not bad, as shelter goes; no walls, so the wind rubs its fingers wraithlike down Torr’s cheeks and tangles them in his hair, but at least there’s a roof. It looks newly thatched, too, the floorboards free of rot, the water-wheel still chugging creakily along. There’s no wood to cut here, all the nearby surrounding trees too scraggy to be worth the bother. The only big ones are part of the grove up on the hill. There’s no point in keeping the mill running, but Torr is glad it is; he watches the distant firelight flickering through the scrub, and listens to the splashing of the wheel. It’s proof that people and the things they make do still exist – if not necessarily here.

It really feels dead, out in the cold, with the leafless trees and the wind that doesn’t even whisper. It always does. It’s a bit discomfiting, which is maybe why Torr doesn’t go on out-of-city endeavours as often as perhaps he could; but really, there’s not work out here enough to make it worth it. There’s always problems with bandits on the road, but Torr’s not a good enough fighter for bounty work; there’s collecting plants and things to sell Nurelion, but that’s easy enough to do on a day trip. (And, really, it’s more for Torr’s own enjoyment, besides. They never even venture far south enough to get to the sulphur pools, which is where the more interesting things grow.)

This trip, though, is an outlier. Unusually efficient. Just a quick job for Niranye, scouting a merchant’s cart on the road – almost definitely for something shady, but that’s not Torr’s business, and it was too much money too easy to turn down. And then – just earlier today, foraging out in the wilderness as best as Torr (a distinctly urban animal) knows how – they’d come across a giant’s corpse, stiff and white as the snow it lay in. Torr’s no master alchemist but they know the value of a cadaver when it comes to brewing alloys and admixtures, so they set to with their blunt-edged dagger and now they’ve got a sack full of what may as well be gold. (Long as it doesn’t start to rot before they can get Nurelion to preserve it, anyway.)

Torr’s going to be rolling in it when they get back to Windhelm. They could use that money for nearly anything – pay off a few things they borrowed, new warm things now that winter’s coming back strong, bedrolls, waterskins. Endless options – which, strangely, is more exciting than it is burdensome.

It’s all the sort of decision that would ordinarily feel life-or-death urgent but right now feels – not small. Not insignificant, not at all, but distant. A choice to be made at another time, by another person.

(Torr’s whole being belongs to Windhelm’s back streets. They’re someone else, away from it all.)

That’s the other thing about leaving the city, spending time in the discomfiting slow-paced ghost-world outside. It’s quiet. Torr sits surrounded by the wind in the trees, the lazy murmur of the stream, the creak of the water-wheel, and nothing else.

He’s been called a worrywart (mostly by Griss in a strop) but to tell the truth he doesn’t think that’s true. Torr doesn’t fuss for the sake of fussing, he just doesn’t like to leave things undone; can’t stop until he finds a solution. Out here, alone, in the empty cold, there are no solutions to find – same old problems back home, he knows, but no steps he can take at this time to right them. That’s never true while he’s in the city, so he can never stop thinking about it, every choice and action accompanied by a buzzing background chorus of everything else he really should be doing – that really should have been done by now – that should never have been left undone this long, what was he thinking? Everything is urgent when it’s doable. But here and now, there’s nothing to do.

So Torr sits hunched on the board floor of the ramshackle watermill, huddled among their heaps of bags and blankets, and thinks of nothing at all.

Not strictly true. They think of supper – haven’t eaten since an apple this morning, except for some snowberries they found around noon, and it’s been a long day. They nabbed some turnips from the garden of the Kynesgrove inn on their way to the mill. They’re fresh, if nothing else – also covered in dirt, so Torr rises reluctantly from their pile of stuff to crouch on the banks of the stream and dip the vegetables in to clean them off. It aches like hell, the frozen water turning their joints to ice – they almost drop the turnip they’re washing, so they scrub it as best they can with the frigid pad of their thumb and whip their hands out of the water soon as they’re able. They stick their fingers in their mouth to warm them back up.

Even after all that time spent warming up their hands, arraying all their belongings back around themself to conserve body heat, the turnips are still cold enough to hurt Torr’s teeth when he bites in. He eats them anyway, relishing a little in the unearthly silence and the aching of his lips and palms. They taste delicious.

With nothing else to do after, the gnawing of his stomach sated, he wraps himself in his shawl and stares up the hill at the camp’s fire until it goes out. The stars wink into brighter being. The wind whistles through the whip-thin branches of the trees. The water-wheel creaks.

Torr sleeps, but he feels like he hears it all – a silent observer, an echo, a beginning – until morning.

[yanlei-a]

and also bc i'm incapable of posting in one of their blogs without thinking about the other..... there are obvious options like spirit of darkness or some shit like that but: spirit of sacrifice.................

[chaosintheavenue]

76 followers: Is Del Lawson glitchy AF for everybody? Specifically in the dialogue department?

[mythvoiced]

@theimpalpable | the GBEP

Another glance at his front. He can't help it. They hadn't exactly signed up as extra aid to keep watch to this area with the idea they'd be getting fashion tips from random strangers he'd almost threatened to apprehend. To stutter a little through their thought process and reactions seems sensible enough.

Also because he's somewhat starting to doubt he's talking to an actual person. Or... a living one, at least. Which opens the door to a completely different set of problems, which he'd truly rather not step through today.

Or tonight, rather.

Or at any point in time, actually.

Calloused hand flattens the front of his clothes until his fingers curl around the hem of the bland shirt he's wearing under his jacket, lifting it up to stare down at it as though the fabric could materialise a visual representation of the colours just described.

They look up.

What an odd fella. Stiff, somewhat, but not really. Stiff in a way gentlemen are in Western shows, controlled like people of the elite, intellectuals, and superior to the smaller ones who don't have fine shoes, nor can they afford them. At the same time, though, he doesn't... seem... particulary arrogant? That small extra weight to self-importance that would have made assessing him easier.

His tone of voice, too, conversational, if, again, a little... stiff.

Though Seok-ju feels that's not quite the right word.

He blinks, tilts their head. "I'm... I'll be honest, I'm not quite sure what 'burgundy' and 'hazelwood' look like," a smile breaks out on their lips, like the sun through hazy, stern clouds. Not quite sheepish. Humorous, almost. "I like my fashion and my style, but... not an expert on the finer details like the actual proper names of colours."

"So," Seok-ju clears their throat, a casual little human error, tick, more than the actual need for it, "when you say replicate... You're a tailor? Or someone from that industry?"

Well, that would explain... wait, that would explain a lot actually. Fine suit, fine demeanour, fine everything. Seok-ju shoves his hands into his back pockets and relaxes with his elbows jutted out, like moments from replicating a mother scolding a silly child.

Although, the naturalism makes him wonder if 'industry' is the right word to apply here.

"Some sort of patrol, yeah," they concede, shifting their weight to rotate the stiffening joints of one of their ankle. Fine manner of speech and apparently very dedicated to his craft, which could both make him terribly innocent or... well... be a very good cover.

"It's nothing too serious, though, you don't have to worry. Nothing dangerous at least," a shrug. A kid missing is always a serious thing, even though too many in the precinct would argue that 19 years don't make a guy a kid, and he's a guy anyway, whatever could possibly happen to him.

Maybe that's why they'd had to volunteer. South Korea and its oh so inclusive laws for missing people. "Say, you wouldn't happen to have seen a young male-presenting adult most likely wearing a Doosan Bears baseball shirt, beige school uniform trousers, white running shoes and a sports bag?" A tilt of his head to the side again and tragically for himself, the face he makes is doubtful enough that he can't help recognise that some of his fellow officer's thoughts might have begun slipping into their head. "About this height," lifts his hand to hover, flattened palm facing the ground, an arm width over his head. "Potentially in distress, appearing lost, or unapproachable. Maybe in the company of someone else?"

[deerspherestudios]

Hii, sorry if there is something that is not well understood, I'm using a translator jej [My native language is Spanish]. I just wanted to say that I love everything about the game, Mychael is a character that really grabs you in a very nice way. I'm also very happy to know that I'm not the only one who likes things to go slowly, that it first starts with small feelings until it reaches a dark obsession [I really love it!] On the other hand, I hope there's no problem with me using Mychael as a little inspiration to create a character I'm working with to create a story. Attached is a little drawing I did, I love his work! ᐢᗜᐢ

Aaa thank you so much!! The drawing is lovely, I love your character; they're so cute!!!! <3 Good luck with your story!!

In terms of yan VNs, I feel like there's more variety these days (though I haven't explored any recent yandere visual novels in a while; they keep popping up like mushrooms! /j) but I'm happy the slow burn aspect in MO is something people enjoy!

[adolin]

TLT thought of the day is that more posts about John Gaius should engage with the fact that he's explicitly an indigenous man. Especially content about pre-Resurrection John and his backstory, intentions, politics, ambitions etc. He's a product of an environment that Tamsyn goes out of her way to describe.

This is noteworthy, because TM doesn't give much thought about race when it comes to the rest of her characters. It's not a key aspect of the present day side of her worldbuilding; see the sparing physical descriptions, her 'take it or leave it' Word of God on the matter. It's not something that she makes a priority to communicate to the reader, and clearly not a big deal for any House or BoE characters that we've seen.

This is what makes John's backstory VERY noteworthy by comparison. Or, rather, the care Tamsyn put into it.

Compare that one GtN character description post — “Judith is Pasifika and Isaac is Chinese and Magnus is Samoan and Abigail is white, but this mostly in my head and you can picture them as monitor lizards if you want” — compare that to the way she really goes out of her way in NtN to make sure that the readers know that John is Māori, and it's something that absolutely shaped his 30-something years on earth.

Like, it's spelled out multiple times, it's not something for the keen-eyed repeat reader to puzzle out. He's explicitly referred to as Māori; Tamsyn specifically namedropped Dilworth; she sketched an underprivileged background for both him and G. lot of John's obsessive attitude about his world-saving project — no compromises and acting now and nobody left behind — it echoes the concern that small island nations have repeatedly expressed towards the climate crisis, and predictably bigger rich countries don't give a shit about.

IDK where I'm getting at! But I think it's a fundamental part of his character that we sometimes overlook. We all live in a society etc, and the society John created is very very different from the one he grew up in — but it's the latter that shaped him.

[busket]

I understand personal preference and that some people just don't like ships with men, and that's ok! but I'm annoyed at the implication from some fans that labru has less depth as a relationship than farcille or any other wlw ship in dungeon meshi, and the idea that people are only shipping it as a joke, or because they're horny, or because they're misogynistic and don't want to look at female characters, etc etc. I've seen people call it like, "bloodlust obsession that turns to horniness" and it made me realize that the people who don't ship labru don't understand their dynamic at all. labru shippers didn't just pull this out of our asses lol

a lot of the story around kabru involves how he and laios are perfect opposites of eachother. NARRATIVE FOILS, if you will. everywhere kabru thrives (social interaction, charisma, the surface) laios completely fails. and everywhere that laios is most successful (in the dungeon against monsters) kabru keeps getting killed. not only that but their desires are mirrors of each other too: laios grew up bullied by humans and wanted to become a monster, kabru grew up dehumanized by his villagers and then the elves, so he wants to affirm his identity as a human being.

despite how kabru should be repulsed by laios due to his hatred of monsters, he's drawn to him instead. kabru spends the entire story trying to get to laios to talk to him and to get to know him. firstly he knows laios is closest to defeating the dungeon lord and needs to sus out if he's a good person, but he admits that he really wants to be friends with laios too, not just to determine his virtue but to see what value laios sees in monsters. he wants laios to share his interest in people, he wants laios to be interested in him back. kabru never had any true bloodlust or desire to kill laios, he was prepared to go that far if laios wasn't a good person, but once finding out that he has good intentions kabru spends all his energy trying to help laios instead. and when you consider that kabru spent his childhood believing he was half monster because of how he was ostracized in utaya, his curiosity about how laios could possibly love monsters feels so much more personal.

and for laios, he's not used to anyone taking an interest in him. people are constantly telling him he's weird, and the person he believed to be his best friend told him he couldn't stand him. he misses falin so dearly because she thinks he's the coolest man on earth, so meeting someone and being told "I hate monsters but I still want to know YOU" would have an impact on him, I think. in postcanon they become good friends, kabru becomes laios' right hand man to help him with more of the dicey social aspects of being a leader. laios asks him to stay by his side and help him, and kabru says "yeah, that's what I've been doing this whole time"

I wouldn't claim that a romantic relationship between them is CANON, but I wouldn't even say that about farcille either tbh (and I love farcille just as much so don't come for me lol) this isn't a comedy crackship that yaoi fans just made up. laios and kabru are really multi dimensional characters and they're made to reflect eachother in every way, even down to their physical design. so it's not out of nowhere that people ship them

[mischiefmaker615]

Chef's Choice

Over the past time of having tumblr, i have collected my personal favorites- stories that i always get drawn back to when i need inspiration, something to read, and/or something to enjoy with whatever mood or situation that needs tending LOL (not in order and there are so many others i love!!)

Thought it be best to introduce you to some of the greats out there :D

“Seems like the prince of Asgard is seduced by a mortal woman”

By: @fictive-sl0th

(OMG i absolutely LOVE the doctor themed stories with Loki XD ya never know what direction it's gonna end up ;) )

A Coveted Bride

By: @magicbystarlight

(i absolutely LOVE jealous Loki, anything in the realm of dark theme and possessiveness XD we don't judge here. it's an enquired taste and darling, you cooked!!)

Duplicitous *Long Snake Moan*

By: @darkficsyouneveraskedfor

(everything you write, i got to read! truth be told, we didnt ask for but we absolutely needed!!)

Pinned Down

By: @lokisgoodgirl

(come on, just by the titles alone you know it's gonna be good! everything you've written, i've fallen in love with each detail, nothing is rushed and personalities are captured beautifully! i've caught myself gasping out loud in public with some of the stuff you bring us and i absolutely love it!)

Overstimulation Welcome Him Home More Between His Thighs

By: @sarahscribbles

(had me drooling in kinktober!!! just the title alone, i hit favorite so i could read it when i got time and darling, you didn't disappoint! so many stories just draw my attention and every aspect of them is truly perfect!!! i need more!!!)

thirty seconds

By: @muddyorbsblr

(what i would give to be in the readers shoes!! omg i loved this!!! hit all the right feelings and i cant help but reread this far more than thirty times LOL)

The Chambermaid

By: @wheredafandomat

(i want Loki to step on me!!!! i wouldn't mind slave life if it meant serving him LOL gods this was perfect!! i always loved maid x Loki themed stories, keep them coming!!)

Kinktober Day 16

By: @suguru-getos

("we listen and we don't judge" *cough* i love me some CNC! seems like a very hidden kink topic so i got positively excited when i saw this mentioned in your writing and just HAD to read it Lol kinky indeed!!! truly my favorite fic of yours so far!)

Overtime Safehouse

By: @cleo-fox

(I'm pretty sure all of tumblr knows who you are Lol i have enjoyed EVERYTHING you've come out with; your plots, details and character embodiment, Loki is on point!! i cant even fathom where to begin on making storylines this deep with all the bells and whistles. you are truly an incredible writer!!)

"I can do….terrible things to you."

By: @oh-look-at-her

(i can't literally do anything but bow down to you and get up only when given permission LOL truly a damn good time reading your work!!)

Firestarter

By: @delaber

(who doesn't love a good enemies to lovers story Lol can't tell you how many people i've shooed while i was in the middle of reading this XD)

Frozen Stiff Happily Never After

By: @simplyholl

(tbh i struggle finding REALLY good Jotun Loki fics and absolutely fell in love with this one!!! thank you for letting me die in peace now Lol had me giddy and blushing!!)

Have Mercy

By: @mochie85

(you captured his hot and pain in the ass personality so well!!! i LOVED this went through all the emotions on this one!! kinda like an enemies to lovers story Lol why cant it be me!!!)

A Tales of Tangled Desires

By: @angelremnants

(i fell in love with the part one, not expecting for my request to be answered but i got a part two and absolutely have become obsessed!! i love your writing so much and thank you for the prayer being answered! Lol)

And The Gods Made Love

By: @thefairywithboots

(thank you for my request being answered!! anything you publish, i cant get enough of and love the pure art like pace you take to form every inch of your story!!)

[ghostgirl101]

writing for william afton?? Yeah sure I'll get craaaazy ヘ⁠(⁠￣⁠ω⁠￣⁠ヘ⁠) you can write headcanons of anything, really, I just want to hold this man and be extremely and overly affectionate with him (⁠灬⁠º⁠‿⁠º⁠灬⁠) (and and jealousy trope is so aaaaaa you can write something with that, right??? :33)

William Afton/Steve Raglan Being Obsessed With You Would Include...

A/N: Yeap, let's start with obsessive relationship stuff, and then I'll work on a request for jealous headcanons. Hope this is in character, I tried to make it as accurate as I could with what I could work with from the movie. Requests for the FNAF movie are still open if you want me to work on a scenario; just make sure its no smut and platonic or childhood sweethearts for any of the animatronics/missing children 🙃

🐰• Well, good luck getting out of whatever craziness you've somehow gotten yourself into. That's the first thing I'm gonna say ._.

🐰• You probably meet William as "Steve," the careers counsellor who asks a little too many personal questions for it to be strictly business-related, but then, he's got to know who you are to find a job that fits in with your life and personality. He seems normal enough, though there is a slight intensity in the way his eyes linger on you for a beat too long, and his questions become more specific and a bit non-contextual.

🐰• By the end of the interview, he offers you the place of a nightguard at Freddy's, giving you his card with a casual half-smile and going out of his way to show you the ropes. Then you start the job, as oddly unsettling and dark the environment seems, and you think that it's the last time you'll hear from him.

🐰• It's not 😏

🐰• Steve knows a lot about you from your files that he went through before, and from what you told him, and he's got a good memory. He copied all the information down, storing it safely at home, going through pictures and any sources he can find about you in some unplaced interest. William's very calm and calculated, and there's no way he'd be found out unless he let it happen or wanted you to find out for yourself.

🐰• So until he's ready to reveal his dark side completely, which will slip out in little actions and hints when you spend time with him, he's simply Steve Raglan, the relatively normal careers counsellor who keeps checking in on you to see how you're getting on with the job, often going out for a coffee to give you "advice" in his breaks. Anything to pry out more information from you, for him to understand what exactly it is about you that intrigues him.

🐰• Is it because you're unusually pretty? Clever? Quirky? To William, you're just a bit different, maybe a bit childish, or mature and deep, dark-humoured? Whatever it is, it caught his attention, which is a good thing, if you want it... and if it's not, well, you're stuck with it anyway.

🐰• You'll notice quite early on that he's a bit odd himself, maybe a bit invasive, possessive, especially for someone you haven't known for that long. If someone looks over at you for a second too long while you're having coffee with Steve, having a conversation that's veered off of references and employee skills to some personal aspect or interest in your life that he's cracked open. You'll see a shot of something dark pass through his blueish gaze before it passes almost as soon as it comes, and you'll know nothing more about it except never seeing that person again. Just another missing person to add to a list.

🐰• Same with if you happen to be seeing anyone; he's got his own ways to scare people off, and if that doesn't work, he'll be forced to do something a little messier. Again, you won't know a thing about it, and there'll be no proof, no body, no big questions. Suddenly your partner has run off on a job out of the country or broken up with you via text... and Steve will be around to "see how you're doing" and to pick up the pieces when you end up spilling more about what's been going on in your life and exposing more vulnerability. It gives William a rush, in a way, to be needed and ran to and relied on when something goes bad, especially if it's you looking up at him with big pleading eyes. He can only smile and squeeze your hand, not letting go for a long moment as you get yet another drink and finally end up getting somewhere closer to a proper relationship.

🐰• Friends start getting a little distant, past lovers end up disappearing and little conveniences in life become more frequent. Wonder why that is?

🐰• Afton has a great memory, and if you tell him you like something in particular, your favourite show or book, he finds the exact thing by chance in the shop and had to get it for you, just to see your eyes light up and smile thankfully. Or he recorded a new episode of your series for you to watch if you come over on one of the nights you're not working, or he's just finished reading that book, come round to his so you can talk about it some more? He always finds a way to get what he wants, and when it's a person, victim or not, the rule still applies.

🐰• You may not be a victim of violence or murder, but he's got an obsession, an unhealthy desire to watch everything you do, everyone you talk to and in your life. He doesn't name a specific reason for it, doesn't think he needs to, doesn't see the point in it. If you ever catch on to that kind of behaviour, he'll just give you a warm smirk and shrug. "Well, because it's you," is his casual response, though you could swear there's something more behind his eyes. "And I care about you, you know?"

🐰• This is still William Afton though, and for all he can be surprisingly romantic and thoughtful when he thinks to be to see your reaction, he's a sadistic murderer and kidnapper at the end of the day... and it does start to show through. He can be manipulative as we see in the movie, and a bit arrogant, though I don't think he'd outrightly manipulate you. It's more your surroundings and the people you're with. Maybe he'll dig up some dirt on one of your close friends and put it somewhere where you'll find it and cut off the friendship yourself, exactly how he wanted it. And on the occasions when he gets his hands dirty with those types of people, he will get his hands dirty, and enjoys every minute of it. He taunts and mocks them until their dying breath, hating the thought of someone else holding your attention for longer than he can, which only causes more blood to be washed out of clothes and off his skin before you notice.

🐰• I have the idea of William watching you sleep deep in for some reason, since he's affectionate in his own ways, not majorly into PDA or clingy, since he prefers you being the one to run to him. But in the moments when you're not aware that he's around, like when you're sleeping. He'll trace calloused but featherlight fingers across your face, down from your forehead to your cheek and your neck. There's a beat of tensity where you might think he's tempted to do something extreme, something violent, but it passes time and time again. I think the only time William would be tempted to be harsher and forceful is if and when you ever found out about what it is exactly he does, and try betraying him. He wouldn't kill you, nothing like that, but he'd have to lock you away someplace safer...

🐰• But Afton will cross that bridge when he comes to it. For now, it's just an attentive and dependent relationship that William will keep going for as long as he can, accepting any gesture of affection or admiration or any positive attention in general with open arms and a pleased smirk on his face. Life will be pretty easy for you, everything seeming to go your way, and his, he'll make sure of it. And when you finally uncover the truth behind Steve and meet the real William Afton, he'll expect things to stay exactly the same: bloodied hands, spring locks snapping, glowing grey animatronic eyes or not.

[caligvlasaqvarivm]

Actual Ultimate Classpecting Guide

For real this time.

Buckle up, this is a really long one. For everything that's posited, I can provide textual evidence; that being said, I'm not going to be including the textual evidence within the essay itself, because it's already long enough as-is. As such, please feel free to ask for clarification or sources on any assertion, and I'll do my best to provide.

Before we begin, there's some things to discuss about how we're going to be approaching classpect in the following essay. In numbered list form for our short attention spans:

1. There is a concept Hussie talks about multiple times in his book commentary, "personality alchemy" - the idea that there are these "platonic ideals" of certain characters, which can be mixed and matched with others, in order to create new characters. The examples he gives are of how Eridan was a proto-Caliborn, how Kanaya has shades of Jade, how Nepeta was a proto-Calliope, and how Sollux and Eridan have shades of Dave in them. Classpecting is fundamentally a form of this personality alchemy:

2. Class describes the character's arc and emotional hurdles, while Aspect describes the character's base personality traits by which this arc is experienced.

3. For example, all three Seers struggle with hubris: Rose's need to be the smartest person in the room led to her being manipulated by Doc Scratch, Terezi's obsession with meting justice led to her engineering a situation where the only option was to kill Vriska, and Kankri's desire to be seen as a spiritual leader amongst his friends led to him furthering their divisions and harming them.

Then, when their pride is shattered, they cope by inflicting willful self-blindness: Rose turns to drinking herself stupid (the opposite of Light's sway over knowledge), Terezi gets down with the clown (the opposite of meting out Mind's justice, as it's a Gamzee W), Kankri goes celibate (Blood L) despite his clear romantic feelings for certain teammates.

4. As for Aspect: note how all three Life players share the personality traits of optimism, stubbornness, and obstinacy. All three Breath players share an immaturity and naïvety, and are quite frankly irresistible to people for some reason. All three Light players share a need for the spotlight and a tendency toward long-windedness and persnicketiness. So on and so forth.

What's interesting is, if you start analyzing characters that share Classes and Aspects, these specific types of similarity crop up over and over - all our Knights struggle with insecurities and facades, both our Bards have a crisis of faith. All three Breath players have an aspect of immaturity and childishness to their characters, and all three Light players are deeply concerned with appearing intelligent and feeling important.

5. As a result, this guide is NOT intended for classpecting real life people, because we are complicated, we contain multitudes, and we don't have arcs. This is primarily an analysis of what Class and Aspect mean in Homestuck based on textual evidence, because I genuinely believe that you can basically figure it out if you read carefully.

6. Duality, and the idea of "equal and opposite," are major themes within Homestuck - Prospit and Derse, Skaia (described as a crucible of birth and creativity) and the Furthest Ring (the literal afterlife). Which classes are involved in an Active/Passive split, and opposing Aspects, are the same way. This is the primary method I used to determine the Active/Passive pairings and opposing Aspects. After all, as Callie describes, both Thieves and Rogues are classes "who steal" - so, too, do I try to unify Classes by a common theme, even if they diverge wildly in how that theme is expressed (as Thieves and Rogues do). In the same way as the opposite of "up" is not "apple," but "down", because "up" and "down" are both fundamentally concerned with relative vertical position, so too can be defined concepts like Breath and Blood, Hope and Rage, Light and Void - as well as the reasoning behind Class pairings like Heir and Page, Maid and Knight, and Seer and Mage.

7. Descriptions for both Class and Aspect are left deliberately vague and up to interpretation within the comic itself, and this is by design: the actual manifestations of an Aspect can vary wildly given the Class, and even individual person, that it's tied to. Calliope even makes note of the fact that, under the right circumstances, someone can manifest effects that appear to be the opposite of their aspect. She's also careful to couch her language in "may" and "can" - because these concepts are intentionally somewhat nebulous and malleable. As such, while this guide certainly lays down what can be gleaned and inferred from the text, do note that Homestuck runs on a soft magic system, and as such, nothing stated is firm, 100%, must-always-be-this-way - just an overview of what we've seen.

8. There is often great overlap between Aspects, Classes, and Classpects - which Calliope herself notes. Heart and Blood are one of the most salient, as they both have a fixation on relationships, and Calliope mentions that under the right circumstances, a Classpect may even be able to manifest what appears to be the opposite of their Aspect. Again, Homestuck operates on a soft magic system, so this is a feature, not a bug.

ASPECT

There's a little less to say about Aspect, not because it's less complicated, but because "base personality traits" are much more nebulous compared to Class's sway over character arc. Still, Aspect represents the fundamental way a character is, and thus, color every interaction that character has. There's a reason Ultimate Selfhood is sought through Aspect, not Class - Aspect is the core of the character's being, what makes that person that person.

That all being said, Class has major sway over how an Aspect manifests, and certain classes can even invert the Aspect and even the character's role in the party. As such, these descriptions must be parsed carefully in relation to Class. Moreover, due to the soft magic system, there is at times overlap between unrelated Aspects, which can also be exacerbated by Class - Heart and Blood being the most obvious in this regard. Still, overall, you'll find the Aspects to be fairly distinct from one another.

Please also note that every Aspect can deal with its literal counterpart by default - Light players can wield lasers, Breath players can wield the breeze, et cetera. Because this kind of goes without saying, and because the non-literal stuff is more interesting to discuss, I'm not really going to go into too much detail about the literal qualities.

SPACE / TIME

Space and Time are both concerned with physical reality, goals, and the way one approaches them.

Space is associated with "the big picture" - with recycling, reproduction, and the interconnectivity of all things. The aspect also presides over the enjoyment of the journey over the destination - Space players serve as reminders that the present moment is as important as the end goal. Space is often a more passive Aspect, being the stage upon which the story is set. They're the hosts of the party, and the one who marks the ending.

Its players reflect these tendencies, often being feminine, with penchants for life-giving acts such as gardening. Their personalities tend towards frivolity and silliness, finding it difficult to stay on-topic or bring full gravitas to serious situations. Perhaps a better word would be "distractable;" when the aspect is so concerned with all things in connection with each other, it's easy to lose track of details, and it's easy to enjoy things simply as they come. Space players tend to be kind, patient, and forgiving, which is a strength as much as it is a flaw; it's easy for malicious actors to take advantage of this compassion, or for the Space player to find themselves in a poor situation by being overly permissive. They can easily be painted over by stronger personalities, and tend to struggle with romantic relationships, as they attract many with their kind and giving natures, and few are naturally so considerate of the Space player in turn.

A Space player's struggle lies in finding the strength to assert themselves, picking out the good from the bad, weeding the garden so it can flourish and thrive.

Time, in contrast, is associated with "the little things" - with details, minutiae, and processes. Time presides over the struggle toward something greater, the endurance of hardship with an eye on the prize - the destination over the journey. Time players are the ones keeping track of the tasklist, marking off each item as it reaches completion; they are the tireless workers keeping the whole engine running.

Time players, thus, are ones whose lives are marked by struggle. They are highly goal-oriented; in contrast to how Space players can easily move from goal to goal, task to task, Time players feel bound to see things through to the end, finding satisfaction only when they've achieved their desired result - and only until they come across the next goal in their journey. A Time player isn't happy without a goal to work towards, a craft to polish, a prize to win - but this driven nature can easily be its own downfall, as it leaves little room for the player to admit to their own shortcomings, or ask for help from others. Moreover, their focus on minutiae can leave them blinded to the bigger picture, and it's easy for a time player to fall to despair, able to do nothing more but spin their wheels. They're prone to directionless anguish, frustration, and resentment towards the seeming futility of their actions, becoming destructive and defiant even when it doesn't serve them to do so. In the worst case scenario, detach entirely, coming to a standstill.

A Time player's struggle lies in finding peace with themselves, such that they can enjoy the fruits of their own labor - labor whose rewards only multiply when the cause and methodology become clear.

BREATH / BLOOD

Breath and Blood are both concerned with directionality, interpersonal relationships, and autonomy.

Breath is the Aspect governing freedom, liberty, and independence; it is a force that breaks shackles, clears out social norms, and refutes "the rules," whatever those rules may be. Breath players can't be tied down, whether by physical bonds, societal rules, or even the ineffable forces of the narrative itself. They are leaders of example, pioneers, and trailblazers, opening new paths for their teammates to follow.

Breath players are goofy and gullible, often with hearts full of childlike whimsy, naivety, and even immaturity. They are friendly and well-meaning, fond of simpler things, and easily swayed by others. They approach the world with a sincere earnestness, which is not always well-received. Something about this sincerity seems to make Breath players irresistible to others, and they often find themselves the subject of romantic attraction. However, in this childishness is also the great pitfall of many Breath players - their natures are naturally conflict-averse, and egotistical the way a child can be, failing to see beyond themselves. They can be incredibly callous when not considering the consequences of their actions, or the viewpoints of others. Their easy-come, easy-go natures make it difficult to focus them towards a goal, and it's easy for them to simply allow themselves to be tossed around by circumstance and the whims of others, or to simply run away from their problems entirely - never confronting their own responsibility or fault for a situation, passing along the blame.

A Breath player's struggle is letting themselves mature - letting themselves take responsibility, and understand that their actions have consequences for others. Only then can their breeze blow in the party's sails, aiming towards victory, breaking through all obstacles to reach it.

Blood, in sharp contrast, is the aspect that governs bondage, contracts, and interdependence. It is a force that binds. Under Blood's sway are not only romantic entanglements, but familial, friendly, and societal ones as well. This aspect sees overlap with Heart, but the division is this: Heart concerns itself with feelings, and Blood concerns itself with compatibility. Blood players are diplomats, forces that remind us all that we are more similar than we are different, and that that similarity should bring us together when we are on the verge of pulling apart.

Blood players, reflective of their Aspect's association with bonds, tend to be neurotic and obsessive. They have a tendency to over-examine and overthink, constantly fretting over the infinite and infinitesimal variables that influence the shape of society and interpersonal relationships. However, this judgmental nature stems from a deep well of idealism and empathy; Blood players can't help but care about others and wish for the best for them. In a way, this makes them one of the most mature members of the team, capable of cutting through to the core of other peoples' interpersonal issues. Unfortunately, their prowess does not extend inwards, and their assessment of themselves is usually direly incorrect - all the worse because Blood players always feel responsible for those around them. Blood, being the Aspect concerned with interdependence, is the weakest one when all alone. Thus, it's easy for the Blood player to wind up a nag - desperate to make sure everyone is moving according to their vision, they'll fuss and bother and interfere and boss people around until everyone else gets sick of them. It's easy for them to wind up pariahs of their own making, severing their own ties with others by their efforts to establish them.

A Blood player's challenge is of learning how to turn that empathy and honesty inwards, to calm down and let themselves enjoy the presence of others; only then can they come to know how to build something stronger and better.

LIGHT / VOID

Light and Void are both concerned with knowledge, ontology, and "narrative relevance".

Light (as well as its counterpart) are perhaps best understood through the lens of "narrative" - this idea that, of all things that do and don't exist, and all events that do and don't happen, only the ones put to page are "relevant". Thus, Light is associated with knowledge and luck - that is to say, it's associated with the knowable, the objective, and the concrete, and the ability to determine "important" events. Light players have read the book they're participating in, and able to serve as luminary guides from one plot point to another, lighting the lampposts for others to follow.

Light players, naturally, are erudite and educated, possessing keen intellects and cunning minds. They are fond of knowledge itself, of markers of status and prestige - whether that's wealth, the adulation of the masses, or a massive library. They harbor a desire to be important, to be seen, to be acknowledged, and are happiest when they are looked up to. Conversely, they deal poorly with being looked down upon. Their confidence transmutes easily into hubris, and they struggle with having that pride challenged. As such, they tend to be volatile and unpredictable, quick to retaliate against those who threaten their egos, or obsequious to those whose acknowledgement they desire. Their desire for the limelight can quickly spell disaster for those around them, who are reduced to supporting characters in their minds. Craving so much external validation, they're often blind to what would actually make them internally happy.

A Light player's challenge is of coming to terms with their own limited reach, and allowing themselves to shine not for their own desire for importance, but for the betterment of the world in which they live.

Void, in contrast, is the blank spaces between the words. That which is secret, subjective, unknowable - these are Void's domain. It's associated with taboos and hidden things, sexuality and pleasure. It's also associated with the empty canvas - the blank space before creation, and the oblivion to which creation is eventually destined for. Thus, it stands for infinite possibility, though the collapse of those possibilities into a reality removes that reality from Void's domain.

Thus are Void players ever cosigned to the background, though this generally suits them fine. Void players are very self-possessed. Where Light players tend to exaggerate and complicate, Void players are honest and simple, preferring straightforward solutions. They don't tend to think very hard, instead letting intuition and emotion guide them to where they want to be - which makes them one of the more stable and reliable personalities on a team. However, this simplistic, feelings-driven approach often leads to complications and unforeseen consequences, and very easily to irrelevance, with which Void is so closely interlinked. A Void player's reliance on emotion and intuition can result in overindulgence of pleasure, to the active detriment of the party's goals or the Void player's self-improvement, leaving them lost and irrelevant, unable to act.

A Void player's challenge is in resisting the call of the Void's temptations, instead dragging the Void behind them, kicking and screaming, to where it can be of use.

MIND / HEART

Mind and Heart are concerned with what it means to be a sentient being, with identity, and with why we do what we do.

Mind is the Aspect associated with logic, rationality, karma, ethics, and justice. To a Mind player, they "are" because they "think". They are keenly aware of the consequences of every action, and well-versed in cognition and behavior, such to the point of manipulating others with ease. Deeply concerned with the "effect" of cause-and-effect, Mind players are always cognizant of debts and credits, where justice is owed and where it has been over-meted, and their subtle machinations culminate, like well-placed dominoes, in grand finales.

Mind players are schemers - it's in their nature. They have a tendency to view the world as a puzzle or game, with themselves and the people around them as pieces on a board, and set as their standard rules the laws of ethics and karma - owed debts and overhanging credit - guilty and innocent. Mind players are wickedly cunning, and have an high success rate with every scheme they commit themselves to, but the grand downfall of all these tendencies is that they tend to lack in a sense of identity, and have a poor grasp on their own emotions or desires. While they may know how to provoke a desired reaction, they don't know how to change someone's mind. They often find themselves grappling very painfully with their own selfhood, with feelings of emptiness, inadequacy, or uncertainty; this often leads them to seek codependent relationships, hoping somehow that they can find the validation they need externally, not realizing that they're deepening their own fragile self-images.

A Mind player's challenge lies in tempering their natural understanding of karma and justice with kindness and empathy - not just to others, but to themselves, and using that enlightened understanding to lead others forth.

Heart, then, is associated with feelings, motivations, intuition, the soul, and the self. To a Heart player, they "are" because they "feel" like they are - and they're keenly aware of the multitudes that are contained within themselves. Deeply concerned with the "cause" of cause-and-effect, they're drawn to desires, those of themselves and of others, especially where strong feelings are concerned. Heart players are gifted with an intuitive understanding of those around them, both their good and bad qualities, and are tasked with the grand task of bringing out the best.

It stands to reason, then, that Heart players have a firm grasp on who they are and what they want. For the same reasons, it's difficult for a Heart player to truly hate or condemn another person, because they are so adept at understanding them. However, this understanding comes with a price - because the Heart player is so aware of themselves, they can't escape their own worst traits - nobody self-loathes as accurately as a Heart player can. Nor can they ever truly be untruthful with another, making them poor manipulators. Capable of presenting a different facet of themselves as the situation calls for it, certainly, but just as it's impossible to lie to a Heart player, who always knows how someone really feels, it's impossible for a Heart player to lie to themselves. With this sincerity comes vulnerability, and vulnerability often brings with it pain; Heart players have a tendency to withdraw from others after being hurt too often, finding it easier to be alone and silent about their feelings than to deal with the pain of rejection.

A Heart player's challenge is in gaining the confidence to be open with others, to weather the pain of rejection, and let themselves share their gifts, that others may learn to share theirs.

LIFE / DOOM

Life and Doom are concerned with outlook, with journeys, and with trials and tribulations.

Life is an aspect concerned with healing, growing, and improving. It is associated with beginnings, optimism, and positive emotions. The very essence of Life lies in its healing abilities, in this idea of overcoming the odds and triumphing over hardship and difficulty. Life is action, movement, and motion, and its players can scarcely hold still. Life will find a way - and Life players harbor the same immutable belief; they are the most stubborn weeds in the garden, the cockroach that survives the apocalypse, and the beating heart that refuses to stop.

Life players tend to be optimistic and confident. They are self-assured individuals, with a stubborn belief that good things are on their way, and any hardship they face is not only temporary, but something that can be overcome. They can find the silver lining in any cloud, and enjoy themselves under any circumstance. They love to nurture, to care for others, though this love has a tendency to be one-sided. Indeed, Life's stubborn nature is its players' greatest pitfall; their persistence easily becomes obstinacy, and their confidence can become condescension. Their self-assured nature easily becomes egotism, and they can have great difficulty grappling with those who don't share their views - even coming to oppose those who bring emotional pain and suffering that can't be easily fixed. It's very easy for a Life player to decide another person isn't worth their attention, and opt to leave them behind - after all, Life has to move forward, no matter what it tramples in the process.

A Life player's challenge is in accepting the merit in taking a pause to consider unpleasant words and alternative viewpoints, in trying to understand the actual problems instead of imposing their own will onto others, so as to better focus their healing energies.

Doom, then, is the aspect concerned with death, with rest, and with endings. Doom is associated with suffering and with negative emotions, with peace, with sleep, and with dreams. Doom players have a natural penchant for prophecy, and are often dual dreamers, able to take advantage of both Skaia's oracular clouds and the Horrorterrors' voices over Derse. All things must eventually come to an end, and not all times will be good; in these troubling times, Doom players shine, as they are the guides who call the murk home, and know best how to navigate rough waters, course-correcting until the storm passes.

Doom players tend to be deeply pessimistic. They experience, to a much more magnified degree than others, negative feelings and impulses, and it's difficult for them to see the world without seeing its flaws, first and foremost. They are not healers, but commiserators, those who understand greatest that sometimes there's no way to deal with tragedy but to simply sit with it and wait for it to pass. The counterpoint to Life's insistence on breathless positivity, Doom is a reminder that pain, grief, sadness, shame, and guilt are not unnecessary things - in fact, excising them can lead to terrible consequences. Doom players are the universe's martyrs, often taking it upon themselves to course-correct, to sacrifice themselves in order to give others a chance to continue on, to avert a terrible fate. Unfortunately, this tendency also brings with it a tendency for Doom players to wallow in misfortune, or worse, to take themselves out of the picture, giving up entirely on seeing a better ending.

A Doom player's challenge is in rising above the melange of suffering and pain, to grasp personal peace, and to fill their lives, if not with happiness, then with meaning.

HOPE / RAGE

Hope and Rage are concerned with permission, and are the lens by which we define reality.

Hope is described by Hussie in the book commentary as being "framed as the most powerful aspect" because it is, literally, an aspect that defines reality. Its specific ability is lies in reducing the "fakeness attribute" of something, thus making it "real". Hope is associated with convictions, with idealism, with faith, order, holiness, and, of course, with magic - which Hope turns real. Hope is permission itself - a reality-breaking ability to look at the world and decree that it must be another way, a way in which the Hope player believes it ought to be.

Thus, Hope players tend to be hard-headed zealots. Their inclination towards powerful beliefs makes them very difficult to dissuade from a path they've set their minds to, and their specific suite of abilities makes them terrifyingly likely to make their vision come true. Hope players are usually not particularly cunning, nor particularly intelligent, nor even particularly empathetic. Given the Aspect's focus on conviction and faith, it's usually very difficult for Hope players to notice anything occurring beyond their own minds and feelings. Thus are Hope players hopeless optimists, hopeless romantics, and hopeless in general - usually not particularly well-liked, for their inflexibility, for their lack of empathy, and for their dearth of wit. However, their ability to define reality does not leave them when their beliefs are faulty (which they often are, given Hope players are not particularly introspective, either), which is what makes a Hope player so dangerous. Setting them on the wrong path, or breaking their Hope in twain, can result in disastrous consequences, as - one way or another - what a Hope player believes in comes true.

A Hope player's challenge is in seeing beyond themselves, letting others help guide their vision to something newer and more beautiful.

Rage, then, is the power of denial. If Hope reduces the "fakness" of a thing, then Rage reduces its "realness". Rage, too, is a means of defining reality, in this case taking a torch to the aspects of reality that it rejects. In more passive Classes, this works in subtler ways, stoking others towards destructive fury. Rage is associated with anarchy, chaos, revolution, destruction, anger, and nihilism. A Rage player will not suffer a world that does not satisfy them, breaking it to pieces, such that something new can take its place.

Therefore, Rage players are prone to harboring anger and resentment, discontentment with the status quo, and faith only in that what currently exists must somehow be dismantled. However, unlike Hope players, who can't help but be pathetically sincere, Rage players grasp that their natural inclinations are bothersome to others, and often try to mask and hide their embitterment and anger. This, ironically, leads to further ostracization, as others can tell they're being inauthentic. This only further compounds their sense of alienation, and drives them further into smoldering resentment; in the worst-case scenario, the Rage player turns that rage out indiscriminately, deciding that there is nothing worth fighting for - only unpleasant things to be brought to ruin. This makes Rage players sound volatile and dangerous, and they are - but the same fury that moves them is the fury that ignites revolts and tears down oppressive regimes, a necessary and vital well of energy and momentum. It takes careful handling to ensure that the team's Rage player can channel this energy towards righteous causes, rather than marking all as a target for their destructive ire.

A Rage player's challenge is in learning to be authentic and true, and to allow this to release the pressure of their mounting ire, such that it can be converted into productive, rather than destructive, energy.

CLASS

As previously stated, Class governs a character's character arc - the character's starting circumstances, whether their conflict is primarily internal or external, and what major aspect of their Aspect becomes a hurdle for them to overcome.

In the same way an Aspect's sways tie into the character's base personality, the character's Class abilities tie into the kinds of struggles they face, and have great influence on how their Aspects manifest.

That being said, a character - and their Class - are always subject to their Aspect, as their Aspect is tied fundamentally into who they are. Thus, it can be said that a Light player will always have an affinity for knowledge and provide Seer-esque guidance even when not in a Seer role, a Doom player will always have prophetic abilities even with a non-prophetic class (note that Mituna, an Heir, still had prophetic visions, despite those generally being the realm of Mages and Seers), and a Life player will always have a penchant for healing, even paired with a destructive Class like Prince or Thief (the Condesce, after all, could still extend life; a Prince of Life would likely manifest not as one who causes plants to wither and die (this would actually suit a Prince of Doom), but one who destroys in the way of nature overtaking an abandoned shack, or a forest breaking down a body).

This means that when a character's Classpect inverts their Aspect, it doesn't mean that they suddenly become a hero of the opposing Aspect - rather, it means that, at their very worst - at the nadirs of their character arcs - they will lean so much into their Aspect's worst traits that it will superficially appear as the opposite, when all it really is is an absence of themselves. Dave, a Time player, usually so attentive to detail (despite his disaffected facade, he's always paying rapt attention to Karkat's rants, and noticing all the clues pointing to his destiny of defeating LE), at his lowest emotional point (arguing with Grimbark Jade after sobbing about his lost childhood whimsy), states that he doesn't think Lord English is that big a deal, and never even did anything directly bad to him or his friends - when he was literally directly haunted by LE via Cal his entire childhood. Similarly, Rose drinks herself stupid in order to cope with her mother's death.

Note how, superficially, this almost appears to be an invocation of Space's "big picture thinking," its passivity and permissibility, or how Rose's case appears to be Void's tendency to indulge in vices and pleasure - but they're not. Time's worst traits superficially resemble Space, Light's resemble Void, and vice versa - Grimbark Jade is the Condesce's taskmaster, and Porrim at her worst was as much of a nag as Kankri, trying to do a Time player's managerial job. Horuss and Equius at their worst won't shut up and won't stop talking over their partners. So on and so forth.

Finally, Calliope tells us a couple things about Active/Passive pairings. The first is that Calliope introduces the idea of paired classes with the idea that both Rogues and Thieves "steal" (and later, that both Princes and Bards "destroy"). This presents the idea that both classes can be roughly summed up with the idea that every pairing can be summed up with a common theme.

The second is her description of what makes a Class Active versus Passive - that Active Classes move their Aspect to benefit themselves, whereas Passive Classes allow their Aspect to be moved in order for others to benefit. In a way, they're like active and passive voice in grammar (to tie in with the way Classes and Aspects are so tied to ideas of narrative and character arc) - an Active Class performs their Aspect, and a Passive Class allows the Aspect to be performed "by others" (the famous piece of advice regarding telling the two apart being that a sentence written in passive voice can have "by zombies" tacked to the end of it - eg, John is attacked "by zombies", as compared to active voice - John attacks).

Thus, the Class pairings, along with their basic themes, are as follows:

KNIGHT - / MAID +

"One who controls."

Knights and Maids are paired together through two key factors: the first is that they both hold leadership or managerial roles; the second is that both classes carry the connotation of serving a Lord. Fittingly, they are both struggle with the control of malicious forces - Knights with prophecies indicating their role as heroes, Maids with direct usurpation by malicious forces.

PAGE - / HEIR +

"One who inherits."

Pages and Heirs are paired together because they both fundamentally deal with the great inheritances placed before them. Pages can come into incredible, limitless power - but they must struggle and work hard for it; Heirs begin the game in societal comfort and wealth, and must learn to defect from their decadence.

THIEF - / ROGUE +

"One who steals."

Thieves and Rogues are highly adaptable, as Thieves are capable of fantastic on-the-fly adaptation, whereas Rogues have an infinite toolbox at their disposal. They are both provocateurs, shakers of the status quo, though the Thief does so for personal gain, while the Rogue does so to right injustice.

MAGE - / SEER +

"One who guides."

Mages and Seers are tied together by the gift of prophecy and future sight. Seers are privy to the endless branching paths that the future may take, while Mages are gifted with the ability to outright determine a future that will certainly happen, appearing to be prophecy.

WITCH - / SYLPH +

"One who changes."

Witches and Sylphs are individuals blessed with great magic, but poor judgement. Sylphs heal and nurture, but are drawn to those with strong desires, and enable them to cause great harm; Witches, meanwhile, possess strong emotions, which they often use as moral guidance, for better or worse.

PRINCE - / BARD +

"One who destroys."

Princes and Bards are representatives of society - the one who determines its course, and the one who recounts its passing. Princes suffer from a toxic overabundance of Aspect, and are prone to spectacular meltdowns, whereas Bards are always poised for a crisis of faith. Both are responsible for catastrophic failures - but also breathless victories.

INDIVIDUAL CLASSES

KNIGHT

"One who controls [Aspect] or controls using [Aspect]."

Knights are frontline warriors, rallying points behind which the party falls into line. Although they are often leaders, just as often, they are logistical planners, strategists, or simply the team's beating heart. They are almost always thrust into positions of narrative significance, often carrying grand destinies or even outright heroic prophecies on their shoulders. The are the party's rallying force, its center, and a guiding light - the one to lead the charge, behind which the party will follow.

The primary character struggle a Knight will have is with crippling insecurity. Knights are prone to self-loathing and imposter syndrome, and will often adopt a façade in direct opposition to their aspect (ie, their fundamental personality) in order to cope with their feelings of inadequacy. Thus, their relationship with their aspect becomes love/hate - though they're naturally drawn to their aspect, and even naturally skilled at utilizing it, they have a tendency to become their own worst enemy, as their insecurities make them push their façades, and their façades distance them from their aspect.

"Controlling their Aspect" means that the Knight has easy access to their Aspect, wielding it like a tool or weapon - for good or for ill; "controlling using their Aspect" is what grants Knights their leadership abilities, able to dictate how others ought to act in accordance with the Knight's Aspect - whether their understanding of their Aspect is high or low, whether their advice is good or bad.

Therefore, at their worst, a Knight will fall prey to their insecurities, retreating into their facades, rejecting their Aspect, which will allow disharmony or misuse of it to proliferate throughout the team. They may even wind up deliberately twisting their Aspect's presence within the team so that they never have to be confronted by it; these distortions ripple outwards and eventually culminate in major catastrophes, all on account of the Knight's negligence.

But at their best, a Knight is a shining beacon and guiding light; when they come to terms with themselves, and allow themselves to be comfortable in their own skin - when they no longer allow themselves to be ruled by their insecurities and anxieties - they ensure that their aspect is harmonious wherever it appears throughout their party, and can wield it expertly as a weapon, as if it were their own flesh and blood.

MAID

"One who allows control through [Aspect] or allows [Aspect] to be controlled."

Unlike Knights, which take positions of frontline prominence, a Maid is a managerial presence in the backlines, though no less crucial for the smooth functioning of a party. Just as the invisible hands of the hired help keep a household running, the Maid will be called upon to provide vital services to keep the game stable, even if those services are more noticeable by their absence than their presence. Maids are often the party's unsung heroes or even shadow leaders, tugging at invisible strings, fingers on the pulse.

A Maid's primary character struggle will be that of escaping oppression. Maids tend to start the game in positions of subjugation or subservience, especially to malicious forces, and their abilities often end up being exploited to serve their masters' ends. Therefore, one may even have the impression that a Maid is ruled by their aspect, held prisoner and slave - at least until they're able turn the tables.

"Allowing their Aspect to be controlled" means that Maids are capable of directly dispensing their aspect unto others - a Maid of Time can dispense time unto foes, pausing them in their tracks; a Maid of Life can grant so much life that they can revive the dead. Their boons are great and direct, straightforward in a similar manner to Knights. "Allowing control through their Aspect" grants them their uncanny managerial abilities, as their aspect dictates the realm in which nothing occurs without the Maid's knowledge or permission, a realm made available to whomever the Maid's allegiance lies with.

Thus, at their worst, the Maid becomes a saboteur. Exploited by malign forces, their abilities to allow control over others through their aspect, or control of their aspect, makes them perfect vehicles by which their aspect can be hijacked or usurped, and made to turn against the party, and they often find themselves placed into these positions through no fault of their own. It takes the party banding together to shake off the forces that would keep a Maid in bondage.

However, at their best, Maids ensure that the party can never go too far off the rails. There is a place for everything, and everything will be in its place; a Maid is a supply line, a safe haven, and a promise that everything will be neat and tidy when the party returns from war. When the Maid belongs to themselves, their homestead becomes a fortress, and nothing occurs under the Maid's watchful eye without their express permission.

PAGE

"One who works to inherit [Aspect] or inherits [Aspect] for themselves."

Pages are a class defined by promise. As the name suggests, a Page begins weak, but has the great potential to develop into one of the most powerful players in the game. The exact nature of a Page's powers are vague, not because they are insignificant, but because they are so great that it's difficult to encompass them all. At the apex of their arcs, Pages are capable of miraculous feats, overpowering even Lords and Muses - if only they could reach that point and stay there.

A Page begins the game weakest of all, reflective of their long journey of growth. Where most classes only fall into deficit of their Aspect at their lowest emotional points, Pages begin their arcs in deficit - exhibiting character traits opposite to those their Aspect normally encompasses. Moreso than any other class, a Page must learn to grow into their Aspect. Weak-willed, naive, and easily hurt, Pages require careful nurturing if they're to come into their own.

"Working to inherit their Aspect" describes the endless journey of growth the Page must undertake - one with many missteps, backslides, and setbacks along the way. Still, they "inherit their aspect," meaning that their full potential, when realized, is overwhelmingly great - practically becoming their Aspect in humanoid form, capable of utilizing it to its glorious full potential.

However, their nature defeats them, and even if they can attain this state, the Page usually can't stay there for long. At their very worst, the Page's deficit of their Aspect's better qualities can turn the Page into a gravitic well of misfortune - an albatross about the party's neck, the centerpoint, if not inciting incident, of a massive disaster, as their team is sucked in by the Page's natural weakness.

But this is only true as it contrasts to a Page at their best - having grappled and won with the greatest of all weakness, a Page is poised to come into the greatest of all strength. Shown kindness, compassion, and support, a Page at full power reflects a party at their best. A Page at full strength is breathtaking to behold, an unstoppable force of nature, their Aspect made manifest.

HEIR

"One whom [Aspect] grants inheritance or inherits [Aspect] for others."

Heirs, in contrast to Pages, start the game strong. They usually belong to the upper echelons of their respective societies, a position of great wealth, leisure, and comfort, and are set to be inheritors of even greater wealth. Similarly, their Aspect comes to them as if of its own will - it is powerful, but difficult for the Heir to control, reflecting the wealth and status they've enjoyed as birthright.

An Heir's main challenge is that of examining their privilege, and learning where they wish to spread the gift they've been given. Because of their positions of sheltered comfort, Heirs are not particularly world-wise, and often harbor massive blind spots to the suffering of others and the ills of society. As such, they tend to be fairly aimless, given great power but no strong motivations, and have a tendency to simply indulge in their Aspect without contributing great help or hindrance to their team at all.

The Heir's Aspect is practically an independent entity. Being one whom "their Aspect grants them inheritance" refers to how the Heir starts powerful, able to summon their Aspect to perform great, miraculous acts. However, it is highly intuitive and difficult to control. The Heir's challenge lies not in attaining great power, but in attaining control over, and the ability to direct, their existing abilities. Once they do, they can "inherit their Aspect for others" - Heirs become a conduit through which their party can experience their Aspect, making it a usable pool of wealth for them all to draw from. However, because of their comfortable positions, many Heirs end up dallying, finding no pressing need to do so.

But this dallying hides a ticking clock. An Heir's inheritance will come to them, one way or another, and if they aren't ready to receive the great responsibilities that come with such great power, then the power will eventually consume them. An Heir with no clear direction will eventually become lost to their Aspect, entirely removing both from play. Like how wealthy inheritors simply become part of the status quo, so, too, does an Heir disappear into their Aspect, fixing it in place.

Thus, Heirs must learn where they have been blind, where they have been foolish, and what it means to be underprivileged. Then, once they turn their energies towards addressing those injustices - to taking responsibility for building a better future - when their wealth comes to them, they'll be able to distribute it where it's needed most. An Heir, fully-realized, brings their Aspect to heel, and makes it a resource available to their entire team, as if welcoming them all into the family.

THIEF

"One who steals [Aspect] or steals using [Aspect]."

Thieves are, as the name suggests, greedy - much of their arc revolves around a desire to amass wealth, though what's considered "wealth" varies based on the Thief and especially their Aspect. They tend to be callous people by nature, capable of ignoring or trampling over the feelings of others in order to take what they want, in the hopes of filling an emotional void the Thief may not even be fully aware of.

The Thief's playstyle is one of careful resource management. Reflecting a natural tendency to take "wealth" from others, Thieves are unable to use their Aspect without first "stealing" it - a subtractive act which leaves the victim bereft of the Aspect, weakening them in the process. Because of the finicky nature of these abilities, it takes great cunning to be a Thief, and the Class both demands and requires the player to be adaptable, flexible, and quick on their feet, able to effect complicated schemes and engineer the perfect situations for their powers to have the greatest effect. Thieves aren't necessarily strong, but they have a very high victory ratio, because they're experts at turning a situation to their own advantage.

"Stealing their Aspect" refers to the fundamental way in which the Thief class is played, this resource management game; "stealing using their Aspect" reflects how the Thief often becomes a malignant force within the party, viewing their own teammates as caches of wealth to plunder. Thieves are naturally prone to hurting others for their own purposes, craving drama and attention, and being of such callous dispositions that they're able to perform extreme acts of cruelty given the right motivations.

Thieves often become a target of ire within the party, disruptive forces whose quest for personal wealth and fulfillment comes at the cost of those around them. At their worst, they can bring so much heat down upon their own shoulders that the party feels the need to treat them like an enemy, which is disastrous for party harmony. Moreover, it's disastrous for the Thieves themselves, as Thieves seek wealth to compensate for some emotional emptiness, and making enemies of their friends only serves to deepen their ennui.

Thus, a Thief must be taught that true happiness and fulfillment doesn't come from the struggle for wealth, but from the building of something better with those they care about. A Thief, thus turned to heroic purposes, becomes the party's pinch hitter - an adaptable spy, an unpredictable maverick, an element of surprise - and above all, a reliable ally, capable of turning any tide in the party's favor.

ROGUE

"One who steals from [Aspect] or steals [Aspect] for others."

Rogues, on the other hand, call to mind such figures as Robin Hood, stealing from the rich to distribute to the poor. Rogues are at their best when they're agents of a well-planned heist, as they possess an unlimited toolbox - their own Aspect - to play with. Their Aspect is a treasure trove, just waiting for the Rogue to plunder it and share its riches - if only the Rogue can figure out how.

Rogues are forces of revolution. They naturally carry a rebellious spirit, one which bristles at injustice, takes a stand against authority, and questions the status quo. Their ideas are unfocused, however; they know they must rebel, but usually don't start with a clear idea of against who or what. They know that their society is injust, but they don't know how to address that injustice. They know there are villains, and may even know these villains' identity, but they don't know how best to defy them. In a similar way, they're often lost as to how to utilize their Aspect beyond its most basic applications, and usually require external assistance in order to bring out its full potential.

Rogues' true potential lies in "stealing from their Aspect" - an additive act, rather than a subtractive one, as a Thief's stealing is. Rogues are capable of removing their own Aspect's sway over another entity, allowing it to exhibit the characteristics of the opposite Aspect; a Rogue of Void can create things out of nothing, a Rogue of Heart can tease out behaviors and actions. They can also "steal their Aspect for others," allowing them access to their own Aspect's suite of abilities as well. This allows the Rogue incomparable flexibility, their abilities - like their dispositions - rebellious and subversive.

But their rebellious spirit, coupled with their lack of understanding as to who their real enemies are, is dangerous when left unchecked. Rogues often suffer from a failure to start, giving up on trying to understand the deeper implications of their abilities, and of the society they can't seem to find contentment in - but they can also suffer from a worse fate: rebellion without a cause. Rogues' free spirits can lead to them bucking the status quo in ways that actively harm others, performing acts of taboo or poor taste just because that rebellious energy needs to be put to use somewhere. These can have disastrous knock-on consequences, as some things are taboo for good reason.

Thus, Rogues need to be guided - to make connections with others, and come to a greater understanding of the world at large. Once they know their target, and what needs to be done, the Rogue makes sure there are no obstacles along the way - no safe is uncrackable, no prison inescapable, and no problem unsolvable, so long as the Rogue is there to work their magic.

MAGE

"One who guides [Aspect] or guides [Aspect] for themselves."

Mages are prophets, of the "always correct" variety - or so it seems. In actuality, Mages don't "predict" the future, they "choose" it - in a setting where the future is mutable, the Mage's ability is to speak into existence a future they desire, to tip the scales of causality and collapse possibilities into a single definite course. Their Aspect is the lens through which their "prophecy" occurs, a realm in which they command the fabric of reality itself.

As if to karmically balance this incredible power, Mages are afflicted by deep and terrible sadness. They start the game miserable, having been subjected to the greatest injustices their Aspect can offer, tormented by guilt, shame, and self-loathing. Their worldview has been shadowed with a lens of suffering and anguish, and so, too, is their view of the future. Mages usually begin the game having already set several prophecies into motion, and these early prophecies are usually obstacles that the party must overcome.

Mages "guide their Aspect" - this refers to the way their prophecies, that is, their chosen futures, always come true. Their visions may be limited to the sway of their Aspect, but it remains a powerful ability nonetheless. "Guiding their Aspect for themselves," then, outlines the Class's Active nature - the futures the Mage picks must be ones the Mage believes will come to pass.

Unfortunately, Mages have a tendency to pick ugly futures. This isn't out of malice or anger; this is because Mages start the game sad, and without intervention, grow sadder. They're prone to spirals of negativity, self-loathing, and depression, and as their outlook dims, so, too, do their forecasts. Mages suffer, but even suffering can grow familiar - can even appear comfortable or desirable, if the Mage suffers long enough. It's easy for them to grow so accustomed to misery that misery is the only outcome they can see - spelling doom for the rest of the party, one prediction at a time.

But a Mage whose party shows them kindness and forgiveness, compassion and empathy, can pull them out of their misery. How beautiful, then, the future appears! A Mage who believes in a brighter future is a force to be reckoned with. When a Mage can bring themselves to say, "and everyone lived happily ever after," you had better believe they did.

SEER

"One who who is guided by [Aspect] or guides [Aspect] for others."

Seers, meanwhile, are the true future-sighted, able to see the myriad paths the future could take. Like Mages, their Aspect serves as the lens by which their vision is colored; the Seer can sense, with fine accuracy, which paths are closest to the sway of their aspect, and which paths will take them further away. As if gifted with a guide to the game, their intuition is tied directly to the mechanics of SBURB, and they serve as the party's guides, a role indispensable in a game with so many moving parts.

Seers will struggle with blindness, first by hubris and ego, and then by self-harm. Seers begin the game quite full of themselves, proud of their prowess in their Aspect - usually arrogantly so. When this pride is inevitably shattered, Seers have a tendency to deal with their feelings of shame and guilt with willful, self-induced blindness - as if flipping a switch, they become ashamed of the pride they once placed in their Aspect, and seek to place as much distance between it and themselves as possible. There's comfort in ignorance, even if it renders the Seer useless.

Seers are "guided by their Aspect" - able to sense its presence, they gravitate toward it, and towards futures with it in abundance. And, in the same way, they "guide their Aspect for others," lighting the way for others down the path of greatest reward. Seers truly love their Aspect, no matter how much they may misplace their faith in it, and seeking it out is a great joy for them.

This is why a Seer at their worst is so tragic. By inducing intentional blindness within themselves, they are functionally deadening the strongest part of their soul. No matter the temporary relief this brings to the sharp, jagged pain of shame, it invariably deepens the Seer's suffering, as they deny themselves not only their own joy, but their ability to help others - another act which inherently delights them.

Thus, a Seer needs to be made to deal with their shattered ego head-on, to accept their own shortcomings, to become at ease with the idea that they don't have all the answers. Once their vision becomes clear, and their view becomes honest, the party nevermore has to fear becoming lost or straying from the path - the Seer will see to that.

WITCH

"One who changes [Aspect] or changes [Aspect] in others."

Witches are the winds of change, tweaking reality all around them until it suits their desires. A Witch is presence that commands both fear and respect, and their Aspect bows down before them, reduced to a mere minion in the Witch's presence, ready to attend to all their needs. In a way, the Witch's powers are straightforward - they can manipulate their Aspect as they desire, changing its qualities as they see fit. "How they see fit," then, is where the issue lies.

Witches are usually of "outsider" status, never truly being part of the society from which the rest of the party descends. Free from the same rules and common sense that govern the others on their team, Witches instead operate on a value system heavily reliant on their own emotions. What a Witch deems to be correct, to be true, or to be righteous, are often based not in any objective measure, but in subjective, emotional bias - and they're emotional creatures, indeed. Prone to fits of great anger, Witches can be benevolent one second and malicious the next, and their abilities let them imprint, to a greater degree than any other Class, their desires onto the world that comes after them.

Witches "change their Aspect," as in, the crux of their abilities lies in manipulating the qualities of their Aspect in their surroundings - extending, shortening, magnifying, shrinking, growing, removing… so on and so forth. It's a fearsome power. They also "change their Aspect for themselves" - their Aspect is hapless but to obey their desires; Witches change the world to suit themselves, and their feelings of how things "should" be often become how things "are" in short order.

Thus, a Witch who has been swayed toward evil entities and nefarious ends is a truly dangerous opponent - and it is unfortunately easy for this to happen. Witches' social isolation means they tend to trust their emotions, and a force that flatters these emotions can easily win a Witch's trust. By the same token, those that fail to flatter the Witch are often considered enemies, even if they're benevolent forces. A Witch's morality can thus become warped and topsy-turvy, which has grave consequences for the world that the Witch then shapes.

Therefore, a Witch's struggle lies in learning to see beyond their own emotions, to take in the opinions and assistance of others even when it seems superficially unpleasant, to move beyond the childlike rejection of that which is uncomfortable. Once able to see a more nuanced form of right and wrong, once able to tell evil from good, Witches can build even utopia.

SYLPH

"One who allows [Aspect] to change others or changes [Aspect] for others."

Sylphs are nurturers and healers; they bring to mind fey folk whose very footsteps cause plants to grow. Wherever they go, whatever they touch, all becomes suffused with the Sylph's Aspect, which flourishes under their careful cultivation. Sylphs adore their Aspect, and their Aspect adores them; Sylphs generally feel at peace with themselves, surrounding themselves with what they like.

A Sylph's main challenge - or rather, the main challenge that Sylphs wind up posing the rest of the party - is that Sylphs are enablers. They're attracted to those with strong wills and extreme dispositions, amused by the havoc they wreak and pleased by their attention. Sylphs love to pick out favorites and lavish them with care and attention, excusing any wrongdoing on their behalf and shielding them from consequences. At the same time, those who don't strike the Sylph's capricious fancy find themselves discarded in the Sylph's mind, shut out from the boons the Sylph can provide.

A Sylph is "one who allows their Aspect to change others" - this almost always manifests as healing, as it's an additive ability (that is to say, the Sylph can grant more of their Aspect to someone). "Changing their Aspect for others," on the other hand, explains this enabling nature of theirs - the Sylph will intervene to make the world into a playground for their favored individuals, even to the point of turning other, less "interesting" teammates into playthings for the Sylph's beloved.

Thus, while the Sylph themself isn't particularly prone to wild mood swings and acts of malice, their influence can still cause disaster by allowing unscrupulous individuals to flourish - even encouraging their worst tendencies. A Sylph's touch is subtle, but that subtlety only lends it an insidious quality, as the Sylph quietly works against the good of the many for the cruel, selfish pleasures of the few. At their very worst, the Sylph can deem themselves their only favorite, and render everyone else a minor character in their one-man show.

Thus, Sylphs must be challenged. They must be made to reckon with the fact that favorable treatment is not necessarily kindness, and that bias can easily become harm. When a Sylph is able to grasp the difference between bias and doing good, and tune their approach toward that greater good, uncolored by bias and personal preference, then there is no place safer, kinder, and more conducive to growth than the Sylph's embrace.

PRINCE

"One who destroys [Aspect] or destroys using [Aspect]."

Princes are the most anxious, psychologically anguished members of a party. They suffer from a toxic overabundance of their Aspect - its traits are taken to an extreme, and not only the Prince, but those around them, are made to suffer for it. Princes are naturally set on a path of self-destruction, the culmination of their uncontrolled accumulation of their Aspect, and their meltdowns are spectacular, taking their Aspect - and whoever is unlucky enough to be in the same room - with them.

A Prince's challenge, therefore, is as simple to understand as it is difficult to overcome. The Prince needs to learn how to calm down, relax, and find inner peace. Princes are terribly prone to circular thinking and downward spirals. Their natural inclination is to feel anxious and responsible, like they carry the weight of the world, and this causes them to act out in extreme and aggressive ways. Eventually, others pull away, put off by the Prince's intensity. This only deepens the Prince's malaise, and Princes are - pushed by this hovering sense of urgency and catastrophe - willing to employ drastic, desperate measures to enforce compliance with their wills. They wake on their moons early, reflective of their driven natures. They're determined to a frightful degree, and no sacrifice is too great, no work too dirty, if it means achieving what they see as the greater good.

Princes "destroy their Aspect" in this way - by presenting their Aspect at its worst, they make others take distance, ruining it for everyone else. Their hard wills, intense emotions, and unshakeable drive to do what (they feel) needs to be done - at any cost - is their source of power. Thus, Princes "destroy using their Aspect" - their toxic overabundance of Aspect lets them channel it into a pure, annihilatory force; what they lack in the delicate utility of the other classes, they make up for in raw, ruinous power. Princes can easily deal the greatest damage in a combat scenario, their ability to destroy overriding nearly everything that would stand against it.

Thus is the problem with Princes. They're ticking time-bombs of anxiety and frustration; when they finally go off, they carve a path of destruction, before ultimately self-destructing, leaving no trace of their Aspect behind. Not only that, but it's very difficult to defuse the bomb early; Princes have finicky, aggressive, and complicated personalities, and tend to react poorly to straightforward attempts to calm them down and reason with them. They often appear to be their own worst enemies, marching inexorably toward their own destruction.

But Princes not only can be saved, but must be saved. They must be saved because kindness and compassion must exist for their own sake, and a Prince rescued from their own worst tendencies is living proof of the truth of that sentiment. A Prince, given the peace they need to reorient their priorities, will not rest until they see a brighter future realized. They will be the first to rise, and the last man standing, banishing - as if by royal decree - all obstacles, all enemies, all misfortune, and all ills.

BARD

"One who invites destruction through [Aspect] or allows [Aspect] to be destroyed."

Bards are the wild cards of a party, responsible for both improbable victories and catastrophic defeats - sometimes both in a single session. The methods by which a Bard works are a mystery to even the Bard themselves, which make it easy for the party to dismiss their powers - and, by extension, the Bard themselves. After all, who would expect there to be consequences for something so ridiculous as a Bard?

Bards are usually targets of abject ridicule by their teams. They can't help it - they're religious types, or at least types that hold great, lofty, ridiculous beliefs near and dear to their hearts. A Bard's primary struggle invariably winds up being a crisis of faith. Bards begin the game with a positive, "correct" faith in their Aspect; however, something will inevitably occur that shakes the Bard's faith in this viewpoint to its core. In this state, Bards are incredibly fragile, and it's very easy for them to succumb to whispers of cruelty and destruction, for their beliefs to warp, and for the Bard to come to serve the worst aspects of the society they represent.

A Bard "invites destruction through their Aspect" - their powers are subtle, but have catastrophic effects. Bards are instinctively drawn towards causing the first flap of a butterfly's wing, which cascades into a grand, impossible karmic backlash. They "allow their Aspect to be destroyed" by being the conduits for the forces of their faith - whatever faith they hold - to wreak unimaginable consequences across the game.

Thus, a Bard must not be allowed to fall into darkness. The cost is too great. They must be treated with kindness, patience, and sincerity, and given a chance to re-establish their faith in a better, brighter future. If this can be done, then at the party's direst moment - in their darkest hour - they will find that kindness paid back a thousandfold, as an innocuous act by the Bard that no one remembers balloons into a miracle.